Course Profile Drama,
Grade 9 open, Catholic
Unit 1
Course Profiles are professional development materials designed to help teachers implement the new Grade 9 secondary school curriculum. Writing partnerships of catholic school boards and subject associations created these materials. The Ontario Ministry of Education funded the development of these resources. This document reflects the views of the developers and not necessarily those of the Ministry. Permission is given to reproduce these materials for any purpose except profit. Teachers are also encouraged to amend, revise, edit, cut, paste, and otherwise adapt this material for educational purposes.
Any references in this document to particular commercial resources, learning materials, equipment, or technology reflect only the opinions of the writers of this sample Course Profile, and do not reflect any official endorsement by the Ministry of Education or by the Partnership of School Boards that supported the production of the document.
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Catholic District School Board Writing Team - Dramatic Arts
Lead Board
Durham Catholic District School Board
Rick Townend, Manager
Course Profile Writing Team
Ed Dixon, Durham Catholic District School Board
Tom Gallagher, Durham Catholic District School Board
Mary Polidano, Durham Catholic District School Board
Joyce Schneider, Durham Catholic District School Board
Central Catholic Curriculum Cooperative
Institute for Catholic Education
Unit 1: Beginning Drama
Activity 1½Activity 2½Activity 3½Activity 4½Activity 5
Unit Developer(s)
Mary Polidano,
Edmond J. Dixon,
Thomas Gallagher,
Joyce Schneider
Development Date: March 1999
Students are introduced to the class through a series of high energy ice-breaking, trust, and co-operation games which help them break down their inhibitions, encourage risk-taking, foster self-awareness and build team spirit. Rules, structures, and routines are set in place, and, by the end of the unit, students have the necessary orientation to proceed successfully into the study of drama.
Ontario Catholic School Graduate Expectations: 1a,f, 2c,d 3b,d, 4a,b,c,d,f, 5a,c,d,e, 7a,b,d,f,j.
Strand(s): Creation, Analysis
Overall Expectations: DCV.02X, DVC.03X, DAV.02X.
Specific Expectations: DC1.10X, DA2.02X, DA2.05X, DA2.06X.
|
Activity 1 |
Getting Acquainted |
215 minutes |
|
Activity 2 |
Awareness and Encounter |
220 minutes |
|
Activity 3 |
Expression/Interaction |
180 minutes |
|
Activity 4 |
Building Trust |
140 minutes |
|
Activity 5 |
Group Commitment |
260 minutes |
· Establish rules/routines, e.g., student placement as they enter the drama room, presentations, actor/audience protocol, etc. Post these rules so that they are always visually available.
· Ensure that students have established a drama binder with sections for handouts, quizzes, and journal reflections.
· Ensure that students have learned how to work in small groups.
· Emphasize to students the importance of appropriate classroom manner, e.g., constructive feedback and active listening on the work being done in the class.
· Create a welcoming atmosphere that allows students to feel safe and comfortable.
· Ensure that students understand respect, for the contributing value of the ideas, and risk-taking of all members of the classroom community.
· Ensure student safety: review safety precautions with students. You may want to distribute a handout prior to beginning dramatic activities that outline student safety, as well as reinforce these precautions during potentially dangerous exercises, i.e., Trust Leans.
· Provide blindfolds, bean bags, nerf balls, music for relaxation, blank videotapes, video recorder, and tape player.
· Emphasize to students throughout the unit that the activities are helping them to create a functioning Catholic Community that is a prerequisite for future work.
Students should enter the drama classroom with basic listening and co-operation skills, reflective journal writing practice, and basic knowledge of oral presentation and interviewing methods.
Students participate in large/small group activities, collaboration, brainstorming, game playing, friendly competition, interviewing and negotiating techniques, individual and group presentation, and reflective writing.
Assessment and evaluation techniques include roving conferences, teacher formal/informal observation, presentation, reflection, response, learning, and self-assessment. Assessment tools include checklists, marking schemes, and rubric.
Booth and Lundy. Improvisation. Toronto: Harcourt Brace, 1985.
The Drama Recipe Book. Australia: Education Resources Group Inc., Radical Wombat Collective, 1995.
Appendix A.l – Glossary
Appendix 1.1 – Checklist for Daily Drama Participation
Appendix 1.2 – Sample Checklist for Journal Evaluation
Time: 215 minutes
Students begin the unit by establishing a working rapport with fellow drama classmates and teacher. Students are engaged in activities that allow them to learn about themselves and others. By acquainting themselves with others through large and small group activities students become familiar with their surroundings as well as comfortable within the group. Using this information, students feel less nervous and overcome insecurity and the fear of making mistakes in front of others.
Ontario Catholic School Graduate Expectations: 2c, 5a,e.
Strand(s): Creation
Overall Expectations: DCV.02X, DCV.03Xv.
Specific Expectations: DC1.05X, DC1.08Xv, DC1.10X.
· Introduce students to large group “circle” format.
· Emphasize the importance of eye contact and the clarity and projection of the voice.
· Activities may run the course of a 75-minute period or be extended over a period of time.
· Remember that the following activities, like most in drama, allow for special needs students to participate at their own level of ability/comfort. See the Accommodations section for specific suggestions.
· basic listening skills
· basic co-operation skills
· basic oral presentation skills
Students form a large circle, either sitting on chairs or on the floor. A student begins by looking to the left (or right) and making eye contact with the person beside them and stating, “I am Mary”. The next student maintains eye contact and states, “This is Mary, I am Tom”. The students continue in this pattern until the circle is completed. Reverse the process and allow student volunteers the opportunity to move around the circle and identify their fellow students.
a. In a circle, students call out their name and make a movement or gesture such as stomping, waving their hands, or shaking their legs, etc. Once presented the group repeats the name and movement. Students continue until they have all given their names. Repeat the game to establish a greater comfort level.
b. Students stand in a circle and call out their name in a dramatic manner (e.g., angry, joyful, quietly, etc.) using an alliteration (e.g., Magnificent Mary). Once presented by the student, the group immediately repeats the dramatization and alliteration. Students move around the circle until everyone has presented their name. Repeat the activity. Students come up with new dramatizations and alliterations.
a. Discuss how you felt when we first gathered as a group today. Were you nervous? Explain.
b. Explain why it is important to know everyone’s name in drama class.
Students sit on chairs in a circle. One person stands in the center. The person seated to your left is your “Zig” and the person to your right is your “Zag”. Students introduce themselves left and right. The person standing in the middle points to a seated person and says “Zig”, in which case the person must say the name of the person on his/her left. If incorrect, the person in the centre switches places with the seated person. If the person in the middle cannot catch anyone making a mistake after three tries that person may say “zigzag!” Everyone must then get up from their seats and run to another seat at least four chairs away. The person in the centre jumps into the nearest seat and the new person in the middle is the one left without a seat after chair changing ceases. That person gives everyone three to five seconds to introduce him or herself and then begins pointing.
a. Teacher establishes two groups, the more students in a group the better. If there is an uneven number of students have him/her be the scorekeeper. Teacher calls out to students specific organizational instructions and indicates for them to begin on the organization signal “go”. If students share similarities, have them stand side by side; when they have finished organizing their group, have them sit in their order. The first team to complete the task successfully and be seated scores the point.
Instructions include:
· get in a straight line according to your first names in alphabetical order;
· get in a straight line according to birthdays, with January birthdays at the head of the line;
· get in a straight line according to the name of your street, in alphabetical order;
· get in a straight line according to your age, with the youngest person at the head of the line;
· get in a straight line according to your street number, with the smallest number at the head of the line;
· get in a straight line according to your last names in alphabetical order.
b. Choose someone else to call out the instructions (and replace the scorekeeper) for a new game. Mix the two groups. The new caller can repeat any of the above choices in any order. Instructions may vary so that the order of the line is re-arranged. You can also play these games by dividing the groups in half, so that you have four teams (teacher acts as referee).
When an instruction is called out, the first team to complete the task scores a point.
a. Generate a brainstorming session with the students in regard to the types of skills they needed to demonstrate in order to be successful at the “Where Do I Belong” Game.
b. Reflection Question: List and explain three skills that are necessary to be successful in the drama classroom, (e.g., listening, co-operation, knowing other people).
Choose someone to be the caller. The rest of the class moves around the drama room according to the caller’s instruction (e.g., IN SLOW MOTION! HOP ON ONE LEG!, etc.). Whenever the caller calls out a number, the class forms a group with that many students in it. If an odd number of students remain, they may form their own, smaller group.
a. Students sit in a circle, legs crossed. The teacher/leader of the game is “Matthew” and the three students to his/her right are “Mark”, “Luke”, and “John”. Students to the right of John are identified numerically, from one to the maximum number in the class. Describe the following to the class:
“There are four beats to this game: two downbeats are established by tapping your knees with your hands. The other two beats are established by clapping the first and second fingers together in an “X” pattern.” (Teacher models the rhythm 4x with students).
The teacher/leader (Matthew) then leads the class in the repetitive rhythm. On the downbeat (knees), the leader announces his/her game name (MATTHEW!!, MATTHEW!!), and on the upbeat (fingers), announces the name of either MARK, LUKE, JOHN or any number that exists in the group (“FIVE!! FIVE!!). Without missing a beat, the called student answers this call on his/her downbeat (“FIVE!! FIVE!!), and calls someone new on the upbeat (“TWELVE!! TWELVE!!). The pattern of call/answer is repeated until someone in the group either a) misses the beat, or b) misses their call. When this finally happens, the student who is “out” takes their place at the end of the circle (and now has the highest number). All students to the right of the student who got out now shift one spot closer to fill in for the missing student. All students who have moved into a new spot now assume their new number/name identity, and the game begins again. If Matthew gets out, Mark becomes Matthew the leader, and ALL students shift one space to the left. (Recommended game time is 15 minutes.)
b. Repeat the game with students’ eyes closed and discuss the impact of this on the game.
c. Repeat the game in the dark and discuss the effects.
Students should discuss the following points:
a. How does the removal of sight affect the playing of this game?
b. What do we do to compensate for our lack of sight?
c. Is this game more or less difficult without sight? Explain why or why not?
1. Reflections checked for completion but not assessed.
2. Teacher Observation: informal (DC1.05X, DC1.08X, DC1.10X).
· ESD/ELD students may be partnered with others where necessary to facilitate participation in the exercises.
· Physically challenged students can have the movement activities around them (e.g., in ATOM, the students move to form a group by grouping around the student in a stationary wheelchair, etc.)
· For assessment/evaluation, modification of special needs students can include oral assessment for written reflections or dictation where necessary.
Booth and Lundy. Improvisation. Toronto: Harcourt Brace, 1985.
Maria C. Novelly. Theater Games for Young Performers. Colorado: Meriweather Publishing Ltd., 1995.
Appendix 1.1 - Checklist for Daily Drama Participation
Time: 220 minutes
Through participating in various interactive exercises, students deepen their awareness of each other and their surroundings. They sharpen sensory awareness and develop greater facility in communicating with each other. Exercises in this activity involve the body as well as the voice, give students practice and experience in collaborative problem solving questioning and listening techniques on both the physical and verbal level, and prepare students for more meaningful interactions in the future.
Ontario Catholic School Graduate Expectations: 2c,d, 3b,d, 4a,b,c,h, 5a,c,d,e,g, 7,b,d,f.
Strand(s): Creation, Analysis
Overall Expectations: DCV.02X, DCV.03X, DAV.01Xv.
Specific Expectations: DC1.10Xv, DA2.01Xv, DA2.04Xv, DA2.05Xv.
· Students should begin each class with a physical warm-up to focus their energy and set the appropriate environment for drama work.
· Because the exercises sound like games when first introduced, it is important that the teacher reinforce the learning expectation for each exercise, and use extensions and reflections to make sure the learning expectation has been accomplished.
· Make sure that during tangles, students are instructed not to grip too tightly or do anything that would injure another member of the group.
Note: Shark and Shrinking Island are essentially the same activity, but seen through two different lenses: one competitive and one co-operative; emphasize that the building of a Canadian Catholic community is essentially co-operative.
· a good working knowledge of the names of the other students in the class
Students sit in a circle and begin counting from 1. The number 6, or any multiple thereof, or any number in which 6 appears cannot be spoken. Instead the student whose turn it is to speak says, “Buzz!”, for example, 1,2,3,4,5, Buzz! 7,8,9,10,11, Buzz! 13,14,15, Buzz!, 17, Buzz, 19, etc.”. Students are out if they miss and the counting starts again. Many different numbers can be used, and the warm-up should end with a co-operative effort to see how high the group can go without making a mistake.
The teacher spreads 1- to 2-square-metre islands of cloth or newspaper around an open area. Students are to pretend they are at the beach and “swim” with exaggerated arm movements as they move around the islands. They may not touch them until the teacher, in role as the lifeguard, yells “SHARK”. The swimmers must then jump on the island before the teacher (now a vicious shark) “eats” (tags) them. If they are not completely on the island, and are touching the “water” in any way, they can be eaten and are out. Next, either fold the pieces of cloth smaller or remove one to reduce the size of the islands. The next time Shark” is yelled, there are fewer places of safety. The game continues until there are only a few survivors left.
In the game Shrinking Island, students are in groups of four or five and are asked to place themselves on an island so that everyone is on the island and no part of their bodies are touching the floor around the island. They are then asked to reduce the size of the island by 1/3. Again everyone must get on. Continue shrinking the island size until only one group is left.
a. Have students reflect in discussion or in their journals on how they felt during the competitive Shark and the co-operative Shrinking Island.
b. Which approach to the situation was most effective for building community and solving solutions? Why?
c. Which would be the most effective within a dramatic context?
d. What was learned about the nature of creativity?
Students pick partners and stand either facing them or back to back. The teacher selects one pair and declares one student “it”. This student must try to tag his/her partner, who runs around the room. To avoid being tagged, the runner can approach another pair and go “face to face” or “back to back” with one of the partners. This now means that the other person is without a partner and must run away and quickly seek another pairing by going face to face or back to back with someone else’s partner. If the person who is “it” tags someone without a partner, he/she must quickly make a face to face or back to back pairing before being tagged back. The game takes a while to get going smoothly, but is excellent for developing awareness and perception skills.
a. Ask the student to sit with his/her partner and find out six things about that person (favourite food, hobby, etc.). After a few minutes pairs are combined to make groups of four. Each person introduces his/her partner and names the six things he/she has discovered. The other students listen carefully, trying to remember as much as they can about each of the others. The teacher then combines groups to make eight. Each of the students must introduce the people they know from their groups of four, indicating at least three things about each person. The teacher then asks random members of the group of eight to state for the class one or two things they know about each of the seven other people in the group.
b. This activity can be extended to the whole class so that everyone can state at least one positive thing about another person in the class while introducing them.
Have students reflect orally and/or in their journals on what they learned about ten or more of their classmates that was interesting and/or surprising.
Students sit in a circle, eyes closed. One student is selected by the teacher through a tap on the head to be the “murderer”. Students then open their eyes, and the game begins, as they make silent eye contact with each other. The objective of the murderer is to kill as many people as possible by winking at them when they establish eye contact. Those winked at by the murderer are “dead”, and must indicate this by falling SAFELY over onto the floor, and remaining silent for the rest of the exercise. The objective of the rest of the group is to catch the murderer in action (by catching him/her in the process of winking at a fellow student) before he/she has a chance to murder many people. The murderer is caught when a member of the group makes an accurate accusation in front of the class; the teacher can validate this.
Students are arranged in circles of six to eight. They reach into the middle of the circle and, without looking, grasp the hands of two different people in a “handshake” grip. This leaves the group in a knot, which they must then try to untangle into a circle without letting go of each other’s hands.
Students may repeat the exercise with an instruction to be silent, or to make eye contact with as many other people as possible, or to join elbows with others as they untangle.
One student leaves the room. The remaining members of the class form themselves into a tangle. The job of the outsider is to untangle the class. This can be done using verbal instructions only (no touching), or touch only (no verbal instructions).
a. Students should follow this exercise with a review of the techniques they used to achieve success in untangling themselves. They may evaluate which techniques were most useful and which were unhelpful.
b. Students should reflect upon the role of leadership in this exercise as well. Was it easier when there was an appointed leader, or when they worked co-operatively?
c. What are examples in Canadian society of the success of co-operative ventures? (i.e., demonstrate where co-operation was useful today).
1. Self-assessment and peer-assessment through probe questions (DC1.10X, DA2.01X)
2. Anecdotal notes recording assessment based on roving conferencing during exercises (DA2.05X)
3. Journals checked for completeness (DAV 0.3X)
4. Teacher assessment and self-assessment by the students of their ability to work co-operatively, and to treat others with respect and compassion (DA2.04X)
ESL/ELD students may be paired with others where necessary to facilitate participation in the exercises. In Killer Wink students who have trouble playing the game could be the one to choose the killer or judge if an accusation was correct. In Tangles physically challenged students could give the instructions to untangle.
Booth and Lundy. Improvisation. Toronto: Harcourt Brace, 1985.
Brandes and Phillips. Gamesters’ Handbook. Great Britain: Stanley Thornes Ltd., 1978.
Brandes. Gamesters’ Handbook Two. Great Britain: Stanley Thornes Ltd., 1978.
Appendix 1.1 - Checklist for Daily Drama Participation
Appendix 1.2 - Sample Checklist for Journal Evaluation
Time: 180 minutes
Building on the foundational trust established earlier, students move toward creative self-expression in verbal and non-verbal ways. In doing so, they discover the “different voices” they each possess, and how these relate to and are dependent upon those of other group members. Through these activities, the students appreciate how co-operative group and teamwork advance the work itself. Using this information, they determine how the elements of inclusion and co-operation create the optimal drama room environment.
Ontario Catholic School Graduate Expectations: 1f, 2c,d, 3b,d 4a,b,c,f, 5a,c,d,e.
Strand(s): Creation, Analysis
Overall Expectations: DCV.02Xv, DCV.03Xv, DAV.02Xv.
Specific Expectations: DC1.10Xv, DA2.02X, DA2.03Xv, DA2.05Xv, DA2.06Xv.
· Introduce students to the concept of Narrative Co-operation (see Appendix A.1- Glossary) and emphasize that all contributions to the activities must be helpful and appropriate.
· Stress the importance of active co-operative listening.
· Highlight moments of dramatic tension as they occur in these activities.
· A visually impaired student may be superior at Thief and Guard. If appropriate, after prior consultation with the student, the class may want to discuss with that student why this is so and reflect upon the various blessings a perceived disability can bring to the individual.
· knowledge of safety rules in the drama room
· understanding of collective co-operation versus individual co-operation
· basic understanding of plot
If space permits, students spread out in pairs over a large, defined area of the classroom. The partners must hold hands and one pair is designated “IT”. Without separating, that pair must tag another twosome. The tagged duo then joins the first pair to make a “BLOB” of four, which then tries to further increase its size by tagging other pairs. Any time a pair is tagged or splits apart, they become part of the BLOB. However, if the BLOB splits while trying to tag a pair, then it has lost its tagging power until all the members again link hands. The game continues until the BLOB has consumed everyone!
The class sits in a circle formation. One person begins a story by saying one word. The person to the left adds one word and this process continues around the circle to build a co-operative story.
Try the above exercise with each student adding two words, a sentence, etc.
Questions for the students to answer:
a. Explain what is difficult about this? Why?
b. Discuss what we have to do in order to be successful at this form of storytelling.
Two students are placed, on hands and knees, blindfolded, in the centre of the circle. Student A is the “thief”, whose job it is to find the roll of masking tape (any object) that is hidden inside the circle. Student B is the “guard” whose job it is to find A while making as little noise as possible. The rest of the class acts as “protectors” who, when either A or B approaches the edge of the circle, tap them silently on their shoulder. The thief wins if he or she captures the roll of tape before the guard captures and holds them for two consecutive seconds.
Students discuss the following points:
a. As an observer/protector, what can you tell us about how the thief and guard moved around?
b. What techniques did the winning student use today? Why did these help them to victory?
c. As a participant in the actual game, what observations can you tell the class? What did you notice about the size of the playing space? What did you notice about your adversary?
The teacher chooses two students who secretly decide upon a topic of conversation. They then begin their discussion in the presence of the rest of the class. The students try to be deliberately vague without being directly misleading. Students may “join in” the conversation if they think they know what the topic is. At any time, one of the leaders may ask the new conversant what the topic is. They must whisper the topic into the ear of either leader. If he/she is correct, the conversation continues. If not, the one guessing must leave the conversation and try again later once more clues have been given.
Students get into groups of three. “B” is in the middle of “A” and “C”, and must carry on two complete conversations with his/her partners. Student concentration is a must if they are to remember what is being said in each conversation. Caution A and C to speak consecutively, not concurrently.
Students discuss the following points:
a. How did we play the role of “protectors” in the warm-up?
b. How did this role change in the main activity?
c. What elements of risk were present in our work today?
d. What did we need to do in order to be successful in both games? Why?
e. What types of employment require the skills of awareness, concentration, and co-operation?
1. Informal observation by the teacher of group co-operation skills (DCV.02X, DCV.03X), see Appendix 1.1 – Checklist for Daily Drama Participation.
2. Anecdotal notes recording assessment based on roving conferences (DA2.05X, DA2.06X, DC1.10X, DA2.02X), see Appendix 1.1 – Checklist for Daily Drama Participation.
3. Student self-assessment of their ability to work co-operatively and to treat others with respect and compassion (DA2.05X, DA2.03X)
Criteria
for Self-Assessment of Co-operative Skills:
|
· Do I treat everyone equally? |
0 1 2 3 4 5 |
|
· Do I take turns? |
0 1 2 3 4 5 |
|
· Do I acknowledge opinions that differ from my own? |
0 1 2 3 4 5 |
|
· Can I take constructive criticism? |
0 1 2 3 4 5 |
|
· Can I give constructive criticism that does not put down the ideas of others? |
0 1 2 3 4 5 |
|
· Do I work enthusiastically in a group? |
0 1 2 3 4 5 |
|
· Do I put the group’s success before my own? |
0 1 2 3 4 5 |
|
· Do I assume responsibility for my own actions in the group? |
0 1 2 3 4 5 |
|
· Do I respect the rights, and property of others? |
0 1 2 3 4 5 |
|
· Do I participate fully in any clean up after an activity? |
0 1 2 3 4 5 |
Identify and explain when and how you used any of the above criteria in today’s class.
ESL/ELD students may be paired with others, where necessary, to facilitate participation in the exercises. A physically challenged student could declare “tagged” or “not tagged” in the game of Blob.
Booth and Lundy. Improvisation. Toronto: Harcourt Brace, 1985.
Larry Swartz, Dramathemes: A Practical Guide for Teaching Drama. Markham: Pembroke Publishers Ltd., 1988.
Appendix 1.1 - Checklist for Daily Drama Participation
Time: 140 minutes
Trust in other group members is established and deepened through a series of consecutive exercises, each of which require students to demonstrate a deeper level of trust and responsibility than was required in the previous exercise. Throughout the process, students are challenged to reflect on the nature of trust and how important trust is both for success in drama and in their own personal lives.
Ontario Catholic School Graduate Expectations: 2d, 3a, 4a,b,c, 5a,c,e,f, 7a,c,d,e,j.
Strand(s): Creation, Analysis
Overall Expectations: DCV.O3X, DAV.O2X.
Specific Expectations: DC1.O5X, DC1.O8Xv, DC1.1OXv, DA1.O1X, DA2.O6X.
· It is very important for students to understand and take seriously their responsibilities when they participate in these exercises, since injury and a complete lack of trust could result if they are not performed properly.
· Students should be instructed not to perform any exercise or variation thereof without the specific instruction/permission of the teacher. Any student who refuses to participate in the exercises without the proper care is excluded.
· Teachers assess their class as the exercises progress; it may be advisable to delay the more challenging exercises until later in the course if the maturity level is too low among students.
· No student is forced to participate in these exercises
· With all of the above provisos, the following exercises are recommended as they improve class spirit and the ability to collaborate, take risks, and trust. Due to the nature of this activity, visually impaired or otherwise challenged students could be invited to share with the class their insights on trust and how they developed it. Their experiences may illustrate that there is more grace than sin in our world, and that hope is essential in facing all challenges (OCSG 3a).
· Journal activities could take place during the warm-up or in reflection.
· Provide blindfolds for some of the exercises.
· awareness of and commitment to a good foundation of the classroom rules, including safety, attitude, and behavior
In journals or discussion the students reflect on the following questions:
a. What is trust?
b. Who do you trust?
c. How is trust developed? Explain.
a. Chair Sit: With partners, students arrange themselves around the room so that Partner A is sitting in a chair and Partner B is standing behind the chair. A stands and steps away from the chair. B then directs A backwards, telling A to sit down (without looking) so that A successfully sits in the chair. Partners reverse and try it again. This should be repeated with the “trusting” partner closing his/her eyes through the process and/or then turning in a circle before being directed. Each time more trust is required.
b. Blindfold Walk: Partner A blindfolds Partner B and then, taking A by the arm, leads A around the classroom, protecting him/her from hazards and asking A to touch and identify five objects in the room, then returning the person safely to the chair. They reverse roles and repeat the process.
a. Hallway Exploration: If there is time and the class has been successful thus far, students may be invited to take their blindfolded partners for a five- minute exploration in the school halls.
b. Obstacle Course: With chairs, desks, schoolbooks, etc., an obstacle course is created in the room. Students must lead their blindfolded partner across the room with verbal instructions so that they do not touch any of the obstacles.
In journals or discussion students reflect on the following questions:
a. When I was being led around did I trust my partner?
b. Did the blindfold alter my perceptions of space and distance? Explain.
c. When I was the guide what evidence did my partner give that he/she trusted me?
d. Was I a good guide, worthy of trust?
e. What experiences in my life or on stage can be compared to this? Explain.
All students stand blindfolded or with eyes closed. One person is secretly designated the “PRUI” by a tap on the shoulder from the teacher; that person stands still and silent throughout the game, though she/he may keep her/his eyes open. All the other students move around the room. When they bump into another student they say “Prui?”. If the person responds “Prui?”, they keep moving. If the person says nothing when they say “Prui?”, link on to the PRUI and open their eyes. The game continues until all have found and become part of the PRUI!
a. Trust leans: Partner A holds hands at first just a few centimeters behind the shoulder blades of Partner B. B leans back and rests against A’s hands and the roles are reversed; the hands are then moved back a bit further until the “point of no return” (usually about 30 cm), where falling. B cannot stop the fall alone and must trust A for support. WARNING! Do not go any further than 40 centimeters, as most students cannot support another falling from a longer distance.
b. Circle lean: A student stands in the centre of a circle of five or six other students who all stand shoulder to shoulder, facing in, and hold their arms out in front. The student in the middle leans back and, keeping the body rigid with heels only touching the ground, is passed around the circle “floating” on the other students' hands.
A student lies rigid on the ground. Other students surround him/her and gently lift him/her. The student is easily lifted to chest or head level, and is then gently set back down. Caution: Make sure that the students perform this exercise slowly and with the utmost attention.
In journals or discussion students reflect on the following questions:
a. How did I feel about each of these activities? Explain.
b. Why was a higher level of trust required for them?
c. Do I view my classmates differently now? Explain.
d. How will this experience help me in drama? In life? Explain.
1. Reflections checked for completion and are assessed (DC1.08X, DC1.10X), see Appendix 1.2 – Sample Checklist for Journal Evaluation.
2. The teacher observes the level of trust and responsibility demonstrated by the student.
ESL/ELD students may be paired with others where necessary to facilitate participation in the exercises. Physically challenged students may participate in the leans/lifts depending on their disability. Those who cannot physically participate may participate in the process by confirming the “READY, READY!” sequence by adding their own “READY!” before the student leans. Journals can be done orally and with modified assessment where necessary.
Booth and Lundy. Improvisation. Toronto: Harcourt Brace, 1985.
Larry Swartz. Dramathemes: A Practical Guide for Teaching Drama. Markham: Pembroke Publishers Ltd., 1988.
Appendix 1.2 - Sample Checklist for Journal Evaluation
Time: 260 minutes
During this activity, students deepen their understanding of and give expression to their commitment to the class as a group. Exercises in this activity require a clear understanding of the importance of working together and expressing one’s self in the drama classroom. Through the use of meditation/relaxation techniques as well as personal reflection and sharing, students achieve a level of personal safety and acceptance in the classroom, while providing an atmosphere of Christian community and compassion toward others.
Ontario Catholic School Graduate Expectations: 1a,f, 2c,d, 3b,d, 4a,b,c, f, 5a,c,d,e, 7a,b,d,f.
Strand(s): Creation, Analysis
Overall Expectations: DCV.02X, DCV.03X, DAV.01X.
Specific Expectations: DC1.10Xv, DA1.04Xv, DA2.01Xv, DA2.05Xv, DA2.06Xv.
· During both warm-ups in this activity, use appropriate music to enable students to achieve deep relaxation and concentration.