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Course Profile   Dramatic Arts (ADA4M), Grade 12, University/College Preparation, Catholic and Public

 

Course Overview

Policy Document:  The Ontario Curriculum, Grades 11 and 12, The Arts, 2000.

Prerequisite:  ADA3M or ADA3O

Course Description

This course requires students to experiment with forms and conventions in dramatic literature, and to create/adapt and present dramatic works. Students will do research on dramatic forms, conventions, themes, and theories of acting and directing from different historical periods, and apply their knowledge of these in analysing and interpreting dramatic literature, including Canadian works and works from various cultures in the late twentieth century. Students will also examine the significance of dramatic arts in various cultures.

This course also engages students in active learning. They apply their theory and knowledge in genuine theatrical contexts by working as actors, playwrights, and discerning audience members. The intent of the course is to make learning experiential to the greatest extent possible, while meeting the academic demands presented by the expectations and suitable for the university/college destinations of students taking the course.

How This Course Supports the Ontario Catholic School Graduate Expectations

Catholic School Graduate Expectations are noted in the overview charts for each Unit. The collaborative nature of Dramatic Arts enables students to actively respect the dignity of self and others. Students can nurture their spiritual life and explore their interior life while moving toward self-actualization with a view of life that is God-centred, a view of person as Christ-centred and a view of community that is church-centred. Dramatic skills promote a way of life rooted in a Christian vocation of discipleship and service in the family, workplace, and community. In drama, students can exercise Christian leadership in the achievement of individual and group goals and achieve excellence, originality, and integrity in their own work while supporting these qualities in the work of others.

Course Notes

·         The teacher should consider the time frames suggested in the profile as guidelines and should vary the time spent in each unit to meet the particular needs of each class. Unit 2, in particular, requires that the teacher choose three of the first four activities and then complete Activity 5.

·         The units should be presented in order, since skills and knowledge developed in each unit will be important for the successful completion of the next unit.

·         As part of a portfolio, students maintain a learning log that is used throughout the course.

·         The teacher may wish to establish a routine of using vocal exercises and physical warm ups at the start of each class throughout the course to allow students to continue to develop their skills.

Organization and Progression

Expectations for this course have been clustered into units that balance the strands and provide students with opportunities to make connections between theory and practice in a challenging developmental sequence. The units are also framed around key questions that attempt to clarify the enduring understanding students should acquire within each unit. Students begin this course by focusing on their own individual skills as actors applied to the interpretation of specific selections of text. They then analyse various contemporary and historical forms of theatre in a series of workshops before shaping a theme, concept, or social issue into a particular style.

Finally, students apply their skills and knowledge of acting, directing, and theatrical forms to the creation and presentation of an original scene that involves characters extracted from various contemporary Canadian plays. Their performance in the final unit constitutes the final evaluation in the course.

The prerequisites for this course are successful completion of Grade 11 Dramatic Arts at either the Open or University/College level. Therefore, students in this course have studied Drama for at least two, and possibly three years. This course is intended to be a challenging continuation of the skills and knowledge students have already acquired in Dramatic Arts courses. The ensemble approach taken in the Course Profiles for ADA3O and ADA3M provides an important developmental step for students entering this course. Teachers should maintain high expectations for self-discipline, commitment to learning, and academic standards. Due to the collaborative nature of the course and the expectation that students engage in authentic application of their skills and knowledge, participation and a willingness to share ideas and take risks are essential to student success.

Teacher Preparation

·         The teacher needs to be familiar with various theatrical forms and texts, especially Canadian works and also have some familiarity with theories of theatre practitioners such as Konstantin Stanislavski, Bertolt Brecht, Frederick Alexander, Patsy Rodenberg, Cecily Berry, Rudolph Laban.

Appendices/Organizers

·         Appendix OV.1 at the end of the Course Overview is designed to help teachers discover the way the Expectations are linked to the specific Achievement Chart, units, and activities of this Profile.

·         The appendices at the end of the document relate to specific Units and include resources for the teacher and assessment tools.

·         Teachers are encouraged to visit the CODE (Council of Drama and Dance in Education) website (http://www.code.on.ca) for further resources, which may be useful.

Key Framing Questions

The units in this Course Profile are developed from the Overall and Specific Expectations and have been clustered around key framing questions. Teachers should expand on these questions when developing questions to support student reflection. They may wish to post the key framing questions in the classroom to emphasize their importance and focus learning by helping students to personalize the questions and share discussion of examples within their portfolio. The enduring understanding students gain from each unit should relate directly to these framing questions.

Teacher Responsibilities

The teacher should be sensitive to various levels of ability, experience, and comfort within the group. It is the teacher’s responsibility to ensure that all students’ needs are being met through pacing, tone, variety of approaches, and accommodations. Teachers must be aware of their responsibilities with regard to disclosure. Teachers should be sensitive to the personal nature of the experience, and support students in avoiding disclosure and discussion of sensitive issues in the classroom context.

Health and Safety

Safe practices must be taught and practised throughout this course. Ladders, risers, lighting, and other electrical equipment pose potential threats to student safety. Teachers must follow all health and safety regulations within their Board, including WHMIS, and anticipate possibly unsafe conditions.

Students should be cautioned to avoid strain when doing physical or vocal exercises and warm ups.

The classroom space should be clear of obstacles before any activities involving fast movement are undertaken.

The teacher must strive to create an atmosphere where students feel emotionally and socially safe. The teacher must deal with matters of a personal nature appropriately and involve specialists when necessary. A safe, supportive environment in the classroom is created when tolerance, acceptance, and inclusion are positively reinforced and modelled by the teacher. The teacher should be sensitive to the personal nature of the experience and support students in avoiding disclosure and discussion of sensitive issues.

Units:  Titles and Time

Unit 1

Stretching Yourself as an Actor Using Text

20 hours

* Unit 2

Beyond Realism

35 hours

Unit 3

Shaping A Theme into Theatrical Style

25 hours

* Unit 4

Characters in New Settings

30 hours

* These units are fully developed within the Course Profile.

Unit Overviews

Unit 1:  Stretching Yourself as an Actor Using Text

Time:  20 hours

Unit Description

Students use text to extend their personal acting skills in voice and movement. Through exercises derived from the work and theories of Stanislavski, Laban, Feldenkrais, Alexander, Keith Johnstone, and Patsy Rodenberg, students develop skills and an understanding of the acting process. The teacher provides each student with the text for a short dialogue or monologue from both a classical and contemporary work. Each student applies acting techniques to both their classical and contemporary piece. The teacher organizes jigsaw and expert group activities to lead the students through performance techniques that support interpretation and develop methods for creating transitions between moments. Students use these methods to refine their presentations. They analyse their work and that of their peers through written reflections that focus on a deeper understanding of how an actor prepares a role and how drama through the ages has related to social issues such as justice, racism, intolerance, private and public security, and respect for individual beliefs. Students also explore opportunities for further actor training and extensions of their skills into other career areas. Students individually select three personal acting strengths that may influence their career choices. For homework, students use a goal-setting process to develop a personal action plan for moving toward their career goals.

Unit Overview Chart

(K/U = Knowledge, T/I = Thinking/Inquiry, C = Communication, A = Application)

Activity

Learning Expectations

Assessment Categories

Focus

1

TH2.02, CR1.02, TH2.04, ANV.02, AN1.04
CGE2c, 2d, 3b, 4b, 5b, 5e, 5g

K/U, C, A

Working with movement and gesture

2

CR1.02, ANV.02, TH2.01, TH1.01, AN1.04
CGE2c, 2d, 3b, 4b, 5b, 5e, 5g

K/U, C, A

Working on the voice

3

THV.01, THV.02, THV.03, THI.01, TH1.01, TH1.02, TH2.04, TH3.03, ANV.01, CRV.01, AN2.03, CR1.01, CR1.02, CR1.03, CRI.06, CR2.02, ANV.02, AN1.05, ANI.06
CGE2a, 2b, 2c, 2d, 3b, 3c, 3d, 4a, 4b, 4c, 4d, 4f, 5a, 5b, 5c, 5e, 5g, 7b

K/U, T/I,
C, A

Working collaboratively

Exploring interpretation techniques

Learning Log

4

THV.01, THV.02, TH1.01, TH1.02, CRV.01, CR1.01, CR1.02, CRI.03, CR1.04, CR2.02, ANV.02, ANI.01, ANI.04, ANI.05, ANI.06, AN2.01
CGE2a, 3b, 3c, 4b, 4c, 4d, 4f, 5a, 5c, 5e, 7b

K/U, T/I,
C, A

Exploring steps to convey subtext and clarify meaning

Learning Log

5

THV.01, THV02, TH1.01, TH1.02, TH2.02, CRV.01, CRI.01, CRI.02, CRI.03, CRI.04, CR2.02, ANV.02, ANI.01, AN1.04
CGE2a, 2b, 3b, 3c, 3d, 4b, 4c, 4d, 4f, 5a, 5c, 5e, 7b

K/U, T/I,
C, A

Applying character development techniques to create effective transitions

Learning Log

6

THV.01, THV.02, THI.01, THI.03, TH2.01, CRV.01, CRI.01, CR1.02, CR1.03, CR1.04, CR2.02, ANV.02, ANV.03, ANI.01, AN1.04, AN1.06, AN2.01
CGE2a, 2e, 3b, 4g, 5e, 7b

K/U, T/I,
C, A

Performing and analysing text

Written reflection

7

THV.02, ANV.03, ANV.04, AN2.01, AN2.02, AN2.04, AN2.05
CGE2c, 2d, 3d

K/U, T/I,
C, A

Research acting skills in other career fields and postsecondary education programs

 

Unit 2:  Moving Beyond Realism

Time:  35 hours

Unit Description

Students research and explore a variety of theatrical styles, (genres, periods and forms) other than realism. These may include: Clowning; Melodrama; Shakespearean; Mime; Restoration; Comedy; Mask; Thai Shadow Puppets; and Greek Theatre in addition to three styles selected by the teacher for in-class study. The teacher presents workshops on three of four styles of theatre and continues to develop a chart as a visual aid to help students understand the evolution of theatrical styles and to make comparisons among these styles, examining closely the different conventions and theatrical devices employed in each. The teacher chooses to focus on three of the first four activities; Children’s Theatre, Commedia Dell’Arte, Epic (Brechtian) Theatre, and/or Theatre of the Absurd. Each workshop includes origins and conventions of the style, sample scenes and opportunities for students to apply their knowledge by creatively using text and improvisational techniques. At the end of each workshop, small groups of students perform in the particular style being used and get feedback from their peers. Each workshop has the following components: a warm up activity, a focus activity, a discussion of the conventions of the style and preparation of demonstration scenes done in groups, a final reflection on the style and the addition of the style and its conventions to the chart Appendix 2.1. Students in groups of four or five independently research one other non-realistic play and present a scene and report outlining its stylistic elements to the class, indicating the ways in which the play is indicative of its genre, period, and social and political milieu.

Unit Overview Chart

(K/U = Knowledge, T/I = Thinking/Inquiry, C = Communication, A = Application)

Activity

Learning Expectations

Assessment Categories

Focus

1

THV.01, THV.02, THV.03, TH1.01, TH1.02, TH2.02, CRV.01, CRV.02, CRV.04, CR1.01, CRI.02, CRI.03, CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05, CR2.06, ANV.01, ANV.02, ANV.03, AN1.01, AN2.01
CGE2a, 5a, 5b, 5e, 5g, 7b, 7f

K/U, T/I,
C, A

Children’s Theatre Workshop: introduction of style, origins, evolution, conventions

Scene work

Creative application

2

THV.01, THV.02, THV.03, TH1.01, TH1.02, TH2.02, CRV.01, CRV.02, CRV.04, CR1.01, CRI.02, CRI.03, CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05, CR2.06, ANV.01, ANV.02, ANV.03, AN1.01, AN2.01
CGE2a, 5a, 5b, 5e, 5g, 7b, 7f

K/U, T/I,
C, A

Commedia Dell’Arte Workshop: introduction of style, origins, evolution, conventions

Scene work

Creative application

3

THV.01, THV.02, THV.03, TH1.01, TH1.02, TH2.02, CRV.01, CRV.02, CRV.04, CR1.01, CRI.02, CRI.03, CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05, CR2.06, ANV.01, ANV.02, ANV.03, AN1.01, AN2.01
CGE2a, 5a, 5b, 5g, 5e, 7b, 7f

K/U, T/I,
C, A

Epic Theatre Workshop: introduction of style, origins, evolution, conventions

Scene work

Creative application

4

THV.01, THV.02, THV.03, TH1.01, TH1.02, TH2.02, CRV.01, CRV.02, CRV.04, CR1.01, CRI.02, CRI.03, CR1.04, CR1.06, CRI.07, CR2.01, CR2.02, CR2.05, CR2.06, ANV.01, ANV.02, ANV.03, AN1.01, AN2.01
CGE2a, 5a, 5b, 5e, 5g, 7b, 7f

K/U, T/I,
C, A

Theatre of the Absurd Workshop: introduction of style, origins, evolution, conventions

Scene work

Creative application

5

THV.03, TH2.04, TH3.01, TH3.03, CR1.07, CR1.06, AN1.04, AN1.05, ANI.06, AN1.07 AN2.02
CGE2a, 2b, 2c, 2d, 4f, 5e, 5g, 7b

K/U, T/I,
C, A

Independent study unit:

Research report

Seminar presentation

Demonstration piece

Portfolio completion

Unit 3:  Shaping a Theme into a Theatrical Style

Time:  25 hours

Unit Description

The teacher leads the group to consensus on a single theme around which one or more theatrical presentations will be built. The teacher and students negotiate to determine which style or styles are most appropriate for creating presentations on the selected theme. Depending on class interest and enthusiasm, the number of styles and groups will vary. Each group creates production schedules and plans for the technical, production, and stylistic elements to be included in their performance. Each group also develops a rehearsal schedule and contracts for the responsibilities of all the players. Each group continues with the playwriting process by developing original material, finding scripted material, or combining both. An examination of play reviews from local newspapers and the students’ own play reviews of local plays in a particular form (or videotapes of productions beyond the local area) enhance student learning about production elements and styles. The presentation concludes this unit using a chosen theatrical style (studied in Unit 2) built on the single theme selected by class consensus.

Unit Overview Chart

(K/U = Knowledge, T/I = Thinking/Inquiry, C = Communication, A = Application)

Activity

Learning Expectations

Assessment Categories

Focus

1

THV.01, AN1.05, AN1.06, THV.02, TH2.03, CR2.02, ANV.01, AN1.01
CGE2c, 3b, 3c, 3d, 2b, 4f, 5a, 5e, 7j

K/U, T/I,
C, A

Negotiations of theme and style and shared development of evaluation tools for final presentation

2

TH1.01, TH1.02, TH2.04, TH3.03, CRV.02, CR1.06, AN1.07, CR1.07
CGE2b, 2e, 3d, 4b, 4c, 4f, 5a, 5f, 7j

K/U, T/I,
C, A

Research sources and select excerpts supporting theme

3

THV.01, THV.02, TH1.01, TH2.02, TH1.03, TH2.04, TH3.01, CRV.02, CRV.03, CRV.04, CR2.06
CGE2a, 2c, 3b, 3c, 3d, 4b, 4c, 4d, 4f, 5a, 5e, 7j

K/U, T/I,
C, A

Collaborative script writing and assembling of the prompt book which includes actioning of the text and technical cues

4

TH1.03, CRV.02, CR1.03, CR2.04, CR1.04, CR2.01
CGE2c, 3c, 3d, 4b, 4c, 4e, 4f, 5a, 5e, 5f, 5g, 7j

K/U, T/I, A

Planning and setting goals for rehearsal schedules and contracting actors responsibilities to project

5

TH1.01, TH1.02, TH1.03, TH2.01, TH2.02, CRV.01, CR1.01, CR1.02, CR2.01, CR2.03, CR2.05, CR2.06
CGE2c, 3b, 3c, 4b, 4f, 5a, 5e, 5g, 7j

K/U, T/I,
C, A

Rehearsal Process

Learning Log

6

CRV.01, CRV.02, CRV.04, CR2.03
CGE2a, 5a, 5b, 5d, 5e, 5f, 5g, 7j

T/I, A

Final presentation of theme in a particular style

7

ANV.02, ANV.03 AN1.01, AN1.02 AN1.03, AN2.01, AN2.02, AN2.03, AN2.04
CGE2c 2d, 2e, 3c, 5b, 5e, 7b

T/I, C, A

Portfolio critiques, reviews and reflections on learning

Unit 4:  Characters in New Settings

Time:  30 hours

Unit Description

In this culminating unit, students focus on Canadian plays and then write and perform an original play in small groups for their final evaluation. They choose a monologue or two-person scene from a Canadian play to prepare, rehearse, and present. They are responsible for their own costume and properties as well as written production plans. In addition, students research the play and playwright following specific guidelines and share their learning with their peers. With peer practice, students help each other to review, drill, and rehearse in pairs or small groups to consolidate their understandings and enhance their skills. Students present rehearsed scenes, applying acting skills developed throughout the course, for peer feedback. Upon completion of monologue/dialogue presentations, students form groups of four. In these groups, each student maintains his/her Canadian character and lines of dialogue from the original Canadian script but works with group members to write a new, original script using a single, common setting in which the four characters interact. These scripts are rehearsed and presented to the class and/or an audience beyond the class. In finding methods to develop this original production, students may also choose to use a theatrical style studied in Units 2 and 3. The presentation of the scenes provides the framework for the final evaluation in this course.

Unit Overview Chart

(K/U = Knowledge, T/I = Thinking/Inquiry, C = Communication, A = Application)

Activity

Learning Expectations

Assessment Categories

Focus

1

THV.01, THV.03, TH2.04, TH3.02, TH3.03, CR1.06, ANV.02, AN1.05, AN1.06
CGE2b, 3c, 4f, 5b

K/U, C, A

Select a Canadian Script and character

Research assignment

2

THV.01, THV.02, TH1.02, TH2.01, TH2.02, CRV.01, CRV.04, CR1.01, CR1.02, CR1.04, CR2.01, CR2.04, CR2.06, ANV.01, AN1.07
CGE2d, 5c, 5f, 5g, 7a

K/U, T/I,
C, A

Interpret, Prepare, Rehearse, Present

3

THV.02, TH3.01, CRV.O2, CRV.O3, CR1.04, CR1.05, CR1.07, CR2.02, CR2.03, ANV.02, AN1.05, AN1.06
CGE2a, 3b, 3c, 4b, 4c, 4d, 5e, 7a, 7d, 7f, 7g

K/U, T/I,
C, A

New groups find connections

Write a script

4

THV.01, THV.02, CRV.01, CRV.02, CRV.03, CRV.04, CR1.01, CR1.02, CR1.04, CR1.05, CR2.01, CR2.02, CR2.03, CR2.04, CR2.06, ANV.01, ANV.02, ANV.03, AN1.04, AN1.05, AN1.06, AN2.01, AN2.02, AN2.04
CGE2e, 4a, 5a, 5c, 5d, 5g, 7j

K/U, T/I,
C, A

Rehearse and present an original work

Critiques review

Portfolio completion

Teaching/Learning Strategies

·         Dramatic Arts teachers have a wide variety of strategies from which to choose. It is important that the Strands (Theory, Creation, Analysis) and overriding philosophy of the course are reflected in the strategies used.

·         Side-coaching should be used whenever students are working on their acting skills.

Assessment & Evaluation of Student Achievement

Assessment is done in a fair and transparent manner with students taking ownership of their work. Diagnostic, formative, and summative assessments provide students with multiple opportunities for success. Summative evaluation reflects student learning of the Overall and Specific Expectations and all four categories of the Achievement Chart. Teachers use assessment and evaluation strategies that:

·         are varied in nature, administered over a period of time, and designed to provide opportunities for students to demonstrate the full range of their learning;

·         are appropriate for the learning activities used, as well as the purposes of instruction and the needs and experiences of the students;

·         ensure that each student is given clear directions for improvement;

·         promote students’ ability to assess their own learning and to set specific goals;

·         involve students in the assessment and evaluation process whenever possible.

Learning skills (Initiative, TeamWork, Works Independently, Organization and Work Habits/Homework) are to be tracked throughout the course and reported on separately from student achievement of expectations.

Assessment and the Role of the Portfolio

As part of a portfolio including other media and materials, students keep a learning log for this course to be used for recording personal reflections, in-role writing, research notes, and other writing. A three-ringed notebook works well for this purpose, but teachers may find that students place a higher value on a hardbound sketchbook or other unusual/unique portfolio format. The teacher assesses and evaluates parts of this portfolio at significant times throughout the course and may use it as the primary vehicle for demonstrations of learning, a stimulus for reflection and student conferencing and a natural mode for analysis and planning.

Writing in the learning log is only one method of reflecting on significant events and learning in the classroom. Teachers should seek a variety of modes of reflection to assist students to come to a deeper understanding of their experiences in the course. Methods may include oral, visual, or musical reflections created individually, in small groups, or in the whole group. Some modes of dramatic expression such as the creation of a tableau may provide an excellent vehicle for reflection. Teachers are encouraged to use classroom reflection strategies suitable to their particular class.

Seventy per cent of the grade will be based on assessments and evaluations conducted throughout the course. Thirty per cent of the grade will be based on a final evaluation in the form of an examination, performance, essay, and/or other methods of evaluation.

Accommodations

Teachers should consult individual student IEPs for specific direction on accommodation for individuals. A student with an IEP should receive assignments that have been thoughtfully tailored to encourage success. Teachers must be aware of and sensitive to the diverse learning styles and abilities of their students. Accommodations must be unique to the individual student.

An extensive list of possible accommodations is contained in the Ontario Curriculum Unit Planner (Ministry of Education, 2001), which is available in all Ontario schools from DSB offices and at www.ocup.org.

Ongoing consultation with the Special Education specialist(s) and the Student Services Department is strongly recommended.

Matching special needs students with mentors can have a number of beneficial effects, not only for the individual students, but also for the class as a whole.

Extension/enrichment activities are suggested throughout this Course Profile.

Resources

Units in this Course Profile refer to the use of specific texts, magazines, films, videos, and websites. Teachers need to consult their board policies regarding the use of any copyrighted materials. Before reproducing materials for student use from printed publications, teachers need to ensure that their board has a Cancopy licence and that this licence covers the resources they wish to use. Before screening videos/films with their students, teachers need to ensure that their board/school has obtained the appropriate public performance videocassette licence from an authorized distributor, e.g., Audio Cine Films, Inc. Teachers are reminded that much of the material on the Internet is protected by copyright. The copyright is usually owned by the person or organization that created the work. Reproduction of any work or substantial part of any work on the Internet is not allowed without the permission of the owner.

Print

Berry, Cicely. Voice and the Actor. Macmillan General Reference, A Simon & Schuster Macmillan Company, 1973. ISBN 0020415559

Boal, Augusto. Games for Actors and Non-Actors. London: Routledge, 1992. ISBN 0-415-0615407

Bruder, Melissa, Madeleine Olnek, Nathaniel Pollack, Robert Previtio, and Scott Zigler. A Practical Handbook for the Actor. New York: Random House, 1986. ISBN 0-394-74412-8

Cameron, Ron. Acting Skills for Life. Toronto: The Dundurn Press, 1999. ISBN 0-88924-289-5

Cohen, Robert. Theatre. Mayfield Publishing Co., 1988. ISBN 0874847566C

Easty, Edward Dwight. On Method Acting. Ballantine Books, 1991. ISBN 0804105227

Gordon, Mel. Lazzi. New York: Performing Arts Journal Publications, 1983. ISBN 0-933826-69-9

Hagen, Uta. Respect for Acting. New York: Macmillan Publishing Company, 1973. ISBN 0-02-547390-5

Leibowitz, Judith and Bill Connington. The Alexander Technique. New York: HarperCollins, 1981.
ISBN 0-06-016053-5

Linklater, Kristin. Freeing the Natural Voice. New York: Drama Book Publishers, 1976.
ISBN 0-86676-071-5

Moore, Sonia. The Stanislavski System: The Professional Training of an Actor. Penguin Books, 1960. ISBN 0-14-046.259-7

Neelands, Jonothan and Warwick Dobson. Drama and Theatre Studies at AS/A Level. London: Hodder and Stoughton, 2000. ISBN 0-340-75860-0

Neelands, Jonothan and Warwick Dobson. Theatre Directions. London: Hodder and Stoughton, 2000. ISBN 0-340-75860-0

Newlove, Jean. Laban for Actors and Dancers. ISBN 0878300449

Rodenburg, Patsy. The Need for Words: Voice and Text. London: Methuen Drama, 1993.
ISBN 0-413-67500-9

Rodenburg, Patsy. The Right to Speak: Working with the Voice. London: Methuen Drama, 1992.
ISBN 413-66130-X

Scanner, Harry H. Stage & School, 7th ed. McGraw Hill, Inc., 1989. ISBN 0070551456

Spolin, Viola. Theatre Games for the Classroom. Northwestern University Press, 1986.
ISBN 0810140047

Stevens, Chris. Alexander Technique: An Introductory Guide to the Technique and Its Benefits. London: Random House, 1995. ISBN 0-09-180979-7

Websites

The URLs for the websites were verified by the writers prior to publication. Given the frequency with which these designations change, teachers should always verify the websites prior to assigning them for student use.

A list of books about Stanislavski and Method Acting
– www.redbirdstudio.com/AWOL/methodbooks.html

A guide to Professional Summer Theatre in Ontario – www.summertheatre.org

Stage Door Reviews of Current theatre productions – www.stage-door.org/reviews.html

Summerworks Theatre Festival – www.summerworks.ca

The Canadian Stage Company – www.canstage.com

The Council of Drama and Dance in Education – www.code.on.ca

The National Film Board of Canada – www.nfb.ca

The Ontario Media Development Corporation – www.ofdc.on.ca

The Toronto Fringe Festival – www.fringetoronto.com

Theatre Ontario – www.theatreontario.org

Theatre Passe Muraille – www.passemuraille.on.ca

Theatrebooks – www.theatrebooks.com

Pontifical Council for Justice and Peace – www.vatican.va/roman_curia/pontifical_councils/justpeace

Publications of John Paul II – www.vatican.va

Unofficial site for John Paul II – www.zpub.com/un/pope

“Sollicitudo Rei Socialis,” 1987, on Catholic social teaching”

“Centesimus Annus,” 1991, on carrying out Catholic social teaching

“Crossing the Threshold of Hope,” 1994

Excerpts

Genesis 1: 27, The Creation

Matthew 5: 1-10, The Sermon on the Mount

Matthew 25: 31-46, The Last Judgment

OSS Considerations

This course profile has been developed to assist in the implementation of The Ontario Curriculum, Grades 11 and 12, The Arts, 2000. When using this material, teachers and administrators must take careful note of the applicable sections of Ontario Secondary Schools, Grades 9 to 12, Policy and Diploma Requirements, 1999; The Ontario Curriculum, Program Planning and Assessment, 2000; and Choices into Action: Guidance and Career Education Program Policy for Elementary and Secondary Schools, 1999. Teachers should also consult the relevant sections of Ministry of Education and DSB documents pertaining to Cooperative Education, Technology in the classroom, Violence Prevention, Conflict Resolution, and community resources for further information.

Appendix OV.1

Dramatic Arts, University/College Preparation: ADA4M, Learning Expectations Chart

 

Each Overall and Specific Expectation is referenced according to its primary verb and the context in which it is most significantly met within this course profile. Teachers are encouraged to engage with their colleagues in a professional dialogue about the relationship between these expectations and the achievement chart for the Arts. This chart may be used when planning units, organizing assessment and evaluation and as a reference when using the Ontario Curriculum Unit Planner. The number represents how many times the Expectation is touched upon in the unit.

 

(K/U = Knowledge/Understanding, T/I = Thinking/Inquiry, C = Communication, A = Application)

Learning Expectations

Achievement Chart Categories

Units

1

2

3

4

THV.01 · describe historical and contemporary approaches to acting, directing, and play writing;

K/U

4

1

2

3

THV.02 · describe how the elements, principles, and techniques of dramatic arts can be applied or considered when creating, presenting, or analysing theatrical works;

K/U, T/I

5

1

2

3

THV.03 · describe the origins and characteristics of different dramatic forms from a variety of cultures and periods, including the late twentieth century.

K/U, C

1

2

 

1

TH1.01 – describe character development within a particular acting theory;

K/U, C

6

1

3

 

TH1.02 – describe how specific genres, settings, and periods influence character development;

K/U, T/I

3

1

2

2

TH1.03 – describe the directing process as it relates to role/character development.

K/U, T/U

1

 

3

2

TH2.01 – describe a range of techniques used to train the voice;

K/U, C

2

 

1

1

TH2.02 – describe a range of movement techniques used to train the body;

K/U, C

2

1

2

1

TH2.03 – explain the elements (e.g., line, colour) and principles (e.g., unity, variety) of design as they relate to dramatic arts;

T/I

 

 

1

 

TH2.04 – describe how the elements, principles, and techniques of dramatic arts have been used in the past.

K/U, C

2

1

2

1

TH3.01 – identify a variety of approaches used in play writing;

T/I, C

 

1

1

 

TH3.02 – describe the development of Canadian theatre, focusing on some specific aspects (e.g., playwrights, works, regional theatres);

K/U

 

 

 

4

TH3.03 – describe the historical and cultural origins of the dramatic literature chosen for exploration.

K/U, C

1

1

1

1

CRV.01 · create and interpret a variety of characters, using the theories and conventions of specific acting methods, as well as historical and cultural styles;

A, T/I

6

1

2

3

CRV.02 · design, create, and present drama, using an ensemble approach;

A, T/I

 

1

4

3

CRV.03 · script and produce an original dramatic work, using a range of dramatic forms and processes, and demonstrate an understanding of their audience;

A, T/I

 

 

1

2

CRV.04 · use technology appropriately to design, create, and present drama.

A, T/I

 

1

1

2

CR1.01 – create and develop a character, using a classical or contemporary style of characterization;

A, T/I

5

1

1

2

CR1.02 – convey character through the effective use of voice and movement techniques;

A, C

6

1

1

2

CR1.03 – apply the acting theories of a particular practitioner (e.g., Stanislavski, Brecht) to interpret a character in a script from the practitioner’s period;

A, T/I

5

1

1

 

CR1.04 – reinterpret characters, using suggestions or notes provided by the director and peers, and demonstrating further insight into the characters in subsequent rehearsals and performances;

A, T/I

4

1

1

3

CR1.05 – demonstrate an understanding of the function of the playwright in the development and scripting of an original scene or dramatic presentation;

A

 

 

 

2

CR1.06 – apply a set of specific criteria in the selection of plays, scenes, or dramatic forms for presentation;

A

1

1

1

1

CR1.07 – research either a historical or contemporary style of theatre before creating and presenting a theatre piece in that style.

K/U, T/I

 

2

1

1

CR2.01 – demonstrate an understanding of the tasks and interrelated responsibilities of individuals in the production of theatre;

A

 

 

2

1

CR2.02 – demonstrate an understanding of the responsibility of all members of a theatre ensemble to develop and communicate the intended meaning or theme of a dramatic piece;

T/I, A

5

1

1

2

CR2.03 – create and present an original dramatic piece, choosing from a variety of dramatic forms, processes, and theories;

A

1

 

2

2

CR2.04 – create production schedules;

A

 

 

1

2

CR2.05 – describe the variety of relationships between audience and performer, and apply them in the creation and performance of a dramatic work;

T/I, A

 

1

1

 

CR2.06 – use technology effectively (e.g., sound and lighting effects, computer-assisted design programs, music, slides, video) to convey mood, tension, and universal meaning in a production.

A

 

1

2

2

ANV.01 · evaluate their personal and collective contributions to all aspects of production, using appropriate dramatic arts terminology;

C, T/I

1

1

1

2

ANV.02 · analyse and evaluate theatre presentations, using the terminology of dramatic arts correctly;

C, A

6

1

1

2

ANV.03 · analyse the personal, social, and cultural impact of dramatic arts;

A, T/I

1

1

1

2

ANV.04 · identify and research postsecondary options in dramatic arts and in related arts fields.

T/I

1

 

 

 

AN1.01 – evaluate the development and presentation of dramatic works, using student-produced criteria;

A

4

1

2

 

AN1.02 – explain why written theatre reviews must be structured differently for different media;

A, T/I

 

 

1

 

AN1.03 – compare theatre reviews of the same play produced both within the community and in other locations across the country;

A

 

 

1

 

AN1.04 – explain the tension between personal expression and public acceptance in dramatic arts;

A, C

5

1

 

1

AN1.05 – identify universal concepts and themes from a study of theatre works, and analyse their personal, social, and cultural significance;

K/U, A

2

1

1

2

AN1.06 – explain how theatre can reflect issues, societal concerns, and the culture of the community, the country, and other countries;

A

3

1

1

4

AN1.07 – compare the contribution of theatre to different societies and cultures, both past and present.

A

 

1

1

2

AN2.01 – explain how participation in the theatre fosters self-awareness and awareness of others for performers, authors, and audiences;

T/I, A

2

1

1

1

AN2.02 – explain how their experiences in dramatic arts have helped develop or enhance their beliefs, philosophies, or world views;

T/I, C

1

1

 

1

AN2.03 – identify leadership roles in dramatic arts, and explain how they can be applied in a variety of different contexts;

T/I

1

 

 

 

AN2.04 – explain how the personal development and academic skills acquired through their study of dramatic arts are connected to career goals in a variety of professions and occupational areas;

T/I

1

 

 

1

AN2.05 – research and describe education and career opportunities in dramatic arts and other related arts (e.g., in film, television, music).

K/U

1

 

 

 

 

 

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