Running Head: THEATRE I HISTORY UNIT

Theatre I History Unit for Secondary Students Abigail Cate EDGR 595: Community of Learners Dr. William Ross January 22, 2014

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Description of Unit Overview Along with music and art, theatre is a cultural tradition which has shaped and has been shaped by society over the centuries. From the Oedipus cycle written in the fourth century BC to the 2013 Tony Award winning musical, Kinky Boots, theatre has held a mirror to the face of societal norms and prejudices and, in turn, has inspired emotional rebuttal and satire. Through this unit, students will examine how this art form has evolved and gain an empathetic understanding of the human races intrinsic need to express itself. This understanding will lead to fluency in character choices and stylistic particulars as students perform in differing historical styles. This unit is designed for secondary students (9-12) at the introductory level and follows units on basic characterization, stage presence, and theatre terminology. Students are expected to be able to demonstrate emotional memory, physical memory, and sensory memory, as well as understand motivators unique to diverse characters. Although this unit covers literally millennia of theatre history, each lesson focuses on a specific era and the fundamental playwrights of each, facilitating a large amount of information to be relayed in a short period of time. Intrinsic to this unit are the TESA Behaviors of Delving and Higher-Level Questions (Rodriguez & Bellanca, 2007), as these behaviors allow students to connect historical ideas with real-world issues and personal experience. In this way, students will foster an appreciation of the old and the ability to look beyond bias to the art within, hopefully teaching students not only about theatre, but about acceptance of the unknown and the willingness to face diverse experiences with an open mind.

THEATRE I HISTORY UNIT Objectives and Standards (Colorado drama, 2009 & National standards, n.d.) Students can

Colorado State Standard I2d. Identify appropriate stage properties and costumes for a given production

Colorado State Standard I4b. Articulate the rationale for all artistic choices concerning historical periods, genres, and relevant playwrights

Colorado State Standard II1c. Demonstrate the ability to utilize the conventions of the following styles: Realism, mime, vaudeville, puppetry, clowning, comedy, tragedy, improvisation, and melodrama

Colorado State Standard III1d. Research the cultural and historical background of a specific play

Colorado State Standard II2b. Investigate and compare common themes among theatre, various art forms, and content areas

National Standard 2a.Analyze the physical, emotional, and social dimensions of characters found in dramatic texts from various genres and media

National Standard 2b. Compare and demonstrate various classical and contemporary acting techniques and methods

National Standard 2e. Create consistent characters from classical, contemporary, realistic, and nonrealistic dramatic texts in informal and formal theatre, film, television, or electronic media productions.

National Standard 3b. Analyze a variety of dramatic texts from cultural and historical perspectives to determine production requirements

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National Standard 3f. Explain how scientific and technological advances have impacted set, light, sound, and costume design and implementation for theatre, film, television, and electronic media productions

National Standard 4a.Identify and research cultural, historical, and symbolic clues in dramatic texts, and evaluate the validity and practicality of the information to assist in making artistic choices for informal and formal productions

National Standard 4b. Research and describe appropriate historical production designs, techniques, and performances from various cultures to assist in making artistic choices for informal and formal theatre, film, television, or electronic media productions.

National Standard 6b. Compare the unique interpretive and expressive natures and aesthetic qualities of traditional arts from various cultures and historical periods with contemporary new art forms (such as performance art)

National Standard 7a. Construct social meanings from informal and formal productions and from dramatic performances from a variety of cultures and historical periods, and relate these to current personal, national, and international issues

National Standard 7g. Critique several dramatic works in terms of other aesthetic philosophies (such as the underlying ethos of Greek drama, French classicism with its unities of time and place, Shakespeare and romantic forms, India classical drama, Japanese kabuki, and others)

National Standard 8a. Compare how similar themes are treated in drama from various cultures and historical periods, illustrate with informal performances, and discuss how theatre can reveal universal concepts

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National Standard 8b. Identify and compare the lives, works, and influence of representative theatre artists in various cultures and historical periods

National Standard 8c. Identify cultural and historical sources of American theatre and musical theatre

National Standard 8d. Analyze the effect of their own cultural experiences on their dramatic work

National Standard 8f. Analyze the relationships among cultural values, freedom of artistic expression, ethics, and artistic choices in various cultures and historical periods

National Standard 8g. Analyze the development of dramatic forms, production practices, and theatrical traditions across cultures and historical periods and explain influences on contemporary theatre, film, television, and electronic media productions.

Outline of Lessons Greek and Roman Theatre: Pathos and Tragedy Medieval Theatre: Passion and Allegory Elizabethan Theatre: Shakespeare and The Globe Neo-Classical Theatre: Moliere and Satire Victorian Theatre: Wilde and the Rise of the Common Man The Golden Age of Hollywood: From Silent Film to Summer Blockbuster The American Musical: Seventy Years of Tradition (1943-2013)

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Integrated Components Mediation of Intentionality and Reciprocity Checking Prior Knowledge o Medieval Theatre: An example work, Everyman, is presented along with a list of the characters (God, Death, Everyman, Good Deeds, Fellowship, etc.).Students will speculate in groups what they think the play is about and share. After examining the play in more depth, students will return to their predictions to analyze their preconceived ideas on the genre. o Victorian Theatre: Agree/Disagree Chart (Rodriguez & Bellanca, 2007, p. 56). Students will complete an Agree/Disagree chart identifying several aspects of Victorian Theatre. Such statements may be Upper class people dont have the same concept of society as other classes and Feelings are more important than fact. These statements will lead to a conversation detailing the aspects of Victorian theatre and create a modern connection with the themes therein. Structuring the Task o Neo-Classical Theatre: After discussing hypocrisy in Molieres Tartuffe, students will present who they may consider a modern-day hypocrite. Students will detail what makes the individual a hypocrite, how their personal life was exposed, and why people might still support the hypocrite after they are revealed. After sharing ideas in a small group, each group will pick one individual to present to the rest of the class. o The Golden Age of Hollywood: Students will revisit the genre of pantomime from a previous physicalization unit. Working in small groups, they will select a

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popular film to briefly recreate in the silent film style, modeling the seven characteristics of pantomime in their films. After the films are complete, students will present them in class and discuss the differences between staged pantomime and the silent film genre. Looking Back and Reflecting o All Lessons: Following each performance, students will complete a selfassessment, examining areas of strength and opportunities for growth. These may be suggestions from the post-performance critique or original comments on their rehearsal process. Alternate self-assessment activity: students may contest a comment from the post-performance critique, supplying genre-specific evidence which supports the choice. Bridging Forward o Greek and Roman Theatre: Class Discussion Question. How does the idea of pathos apply to subjects aside from theatre? How could you use pathos in your personal life? o The American Musical: After students have learned about the plots and the music from such modern musicals as Jesus Christ Superstar and The Wedding Singer, as students to revisit their preconceived notions about musical theatre. In small groups, have students contrast the music from these shows to the music from early shows such as Oklahoma! and imagine how the popular music culture will continue to influence the music of Broadway. Invite each group to share their assumptions with the class.

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Mediation of Meaning Overland encourages students schoolwide to utilize the Cornell Note Method (see Figure 1, p. 16), which is an adaptation of Donna Ogles KWL strategy (Rodriguez & Bellanca, 2007, p. 61). All students are taught its use in our mandatory freshman orientation course, Blazer 101, and many receive additional training in Advancement Via Individual Determination, or AVID. The Cornell Note Method takes the basic KWL chart and modifies it to allow for extended notes on a subject. Additionally, this method encourages students to think about thinking (Rodriguez & Bellanca, 2007, p. 62) Aside from Cornell Notes, Overland teachers utilize a type of visual aid called Thinking Maps. Thinking Maps is a language of eight visual patterns each based on a fundamental thought process, designed to benefit students (Thinking maps, 2012). In the classroom, the traditional KWL chart could easily be replaced by Thinking Maps, each of which is linked to a specific thought process. By connecting a concrete visual design with a specific abstract thought process, students create mental visual patterns for thinking (Thinking maps, 2012). The traditional Circle Map (see Figure 2, p.17) is an excellent alternative to the KWL chart as students as a group brainstorm prior knowledge in the larger circle, ask questions in the upper field, and then reflect on learning in the lower field. This map would serve as an excellent opening exercise for each of the lessons listed above. The Circle Map is also a tool which could be applied to the process of prediction. For example, during the Shakespeare lesson, having students predict plot points of lesser-known Shakespearian plays will show students that the same general themes of love, revenge, and outlandish humor that they appreciate in modern film is still present in what they consider and antiquated art form. This exercise will also help students connect the real world with the subject

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of Shakespearian plays. So often, students are reluctant to study Shakespeare; this reluctance is not because of the subject matter, but due to a disconnect with the language. This, added to the fact that many students first experience Shakespeare under the lens of literary analysis, leads students to feel that Shakespeare is old and boring. By initially ignoring the language and merely talking students through the plots of the plays, students become engaged. Meaning can then be cemented by having students watch, rather than read, the discussed plays. Other than his sonnets, Shakespeares works were meant to be viewed, not read. When examining the process of inquiry, the best method is arguably Socratic questioning. Through Socratic inquiry, the lessons lectures become student-led and foster a higher level of active engagement. The addition of leading questions can turn basic inquiry into a multi-tiered strategy which addresses TESA Behaviors of Delving and Higher-Level Questions (Rodriguez & Bellanca, 2007).

Mediation of Transcendence In What Is It About Me You Cant Teach (Rodriguez & Bellanca, 2007), two major tactics are outlined: reciprocal teaching and fostering communities of learners. The unit outlined deals very little with reading comprehension, focusing alternatively on empathetic and logical applications of historical styles to performances. Therefore, reciprocal teaching is not a strategy which would be effective in this unit (it will provide effective instruction in other units, such as the play analysis unit and the original script writing unit). Instead, fostering communities of learners is the method by which this unit will mediate transcendence. Fostering communities of learners is an innate characteristic of the theatre classroom. Each group researches and performs a different selection from the historical period of the

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lesson. Instead of relating information explicitly, performances then encourage students to contrast each selection for genre qualities. In addition, theatres general themes have remained mostly unchanged over millennia. From the teenage rebellion outlined in Sophocles Antigone to the pain of unrequited love and the feelings of societal rejection examined in Webers The Phantom of the Opera, students transcend the idea of old and new and come to recognize the universality of the human condition.

Mediation of Competence Students who feel competent are infinitely more likely to engage in classroom activities and questioning, thereby gaining more immediate feedback on the comprehension of content. While there is not a magic cure-all for feelings on incompetence, (Rodriguez & Bellanca, 2007, p. 123), several of the TESA Behaviors are easily applied in classroom discussions to alleviate these negative feelings. Already mentioned are the Behaviors of Delving and Higher-Level Questions. These behaviors, when applied to lecture, lead to higher engagement. However, students who are inclined not to participate due to feelings of incompetence require additional behaviors, namely the Behaviors of Wait Time and Praise. By utilizing the Wraparound method detailed by Rodriguez and Bellanca (2007, p. 125), each student gets a chance to respond, but the teacher must be careful to apply enough Wait Time (and, possibly, leading questions) to allow lowerachieving students to talk through their thought process. When students realize that a simple I dont know wont suffice, they allow themselves to try. Following a correct answer, the Behavior of Praise should be applied to cement the positive experience. Students learn that participating, even if they need more time to arrive to the

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correct response, will result in success. The regular use of this method and behaviors also teaches higher achievers how to break down a question, a skill which is useful when they confront more difficult problems and complex ideas.

Mediation of Sharing Behavior Story Element Web (Rodriguez & Bellanca, 2007, p. 139) in the American Musical: By using the Tree Thinking Map (see Figure 3, p. 17), students will complete a story element web for the musical Miss Saigon after watching the musical on film. Business Cards Modification (Rodriguez & Bellanca, 2007, p. 137) in Neo-Classical Theatre: After performing sections of Molieres The Bourgeois Gentleman and Tartuffe, students will complete the Business Card activity in character. Name of Character, Name of Play, Characters Goal (i.e. to become respected by the upper class), Characters Barrier to the Goal, Characters Biggest Ally, Characters Biggest Antagonist. The rest of the activity continues as detailed. Explain Why (Rodriguez & Bellanca, 2007, p. 136) in Elizabethan Theatre as a continuation of Greek and Roman Theatre: After examining the qualities of Shakespearian tragedy, students will group to explain ways in which Shakespearian tragedy is alike and unlike Greek tragedy. Groups will brainstorm these comparisons on a Double Bubble Map (see Figure 4, p. 18) and then share with the rest of the class.

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Mediation of Individuation Visual-Spatial: Storyboard (The Golden Age of Hollywood). Students will storyboard one scene from their favorite movie. Credit is based on completion rather than artistic ability, however extra credit may be given in cases of special effort. Bodily-Kinesthetic: Props and Costumes (Victorian Theatre). With the introduction of technical theatre aspects such as properties and costuming, students will design (and, if possible, fabricate) the props and costumes for their Victorian scene. Credit is based on completion rather than craftsmanship, however extra credit may be given in cases of special effort. Musical: Youre the Lyricist (The American Musical). Students will choose a popular song (not necessarily from a musical, but extra credit will be given for songs released before 1980) and rewrite the lyrics to apply to their original monologues. Credit is based on completion rather than musical ability, however extra credit may be given in cases of students performing the song in their monologues. Interpersonal: Scene Performance (Greek and Roman Theatre, Medieval Theatre, Elizabethan Theatre, Neo-Classical Theatre, Victorian Theatre). Students will participate in a short group scene from notable historical works. Intrapersonal: Monologue Performance (Elizabethan Theatre, Victorian Theatre, The American Musical). Students will perform a short monologue scene from notable historical works and original script writing experiences. Linguistic: In Your Own Words (Elizabethan Theatre). Students will choose a short section or monologue from the Shakespeare scene they are performing and translate the scene into modern English.

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Logical -Mathematical: Lighting Design (The Golden Age of Hollywood). Students will design the lighting plot for a fictional staging of their favorite movie (see Figure 6, p. 19). Credit is based on completion rather than craftsmanship, however extra credit may be given in cases of special effort.

Mediation of Goal Planning Students will examine the Elizabethan Monologue Rubric (see Figure 5, p. 18). Once familiar with the evaluation criteria, they will choose a short monologue from a Shakespearean production. Then, utilizing the questions detailed by Rodriguez and Bellanca (2007, p. 170), students will set a goal concerning the monologue. This goal should be specific to an area of growth unique to the individual student as based on the results of their previous performances (i.e. Physicalization, Memorization, accent work, etc). Since the Elizabethan unit includes two performances (an active monologue-working performance wherein students perform and receive constructive criticism from the class and teacher and the final performance), students will have a chance to re-examine their goal process at the units halfway point.

Mediation of Challenge As mentioned previously, the use of the TESA Behavior of Higher-Level Questions and Delving is integral in this unit, not only to check for comprehension, but also to introduce rigor and challenge to the students: a skillful teacher my initiate the mediation of challenge by asking increasingly difficult questions (Rodriguez & Bellanca, 2007, p. 186). The demonstration of this will occur in each lesson as it progresses, following the three-story intellect model as detailed by Rodriguez and Bellanca (2007). This model could look something like this:

THEATRE I HISTORY UNIT Level OneName the characteristics of Greek tragedy.

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Level TwoExplain how the characteristics of Greek tragedy are modeled in Sophocles Antigone.

Level ThreeImagine that Antigone had been written in 2013. How might Sophocles utilization of the characteristics of Greek tragedy changed? How would it be the same?

Another strategy for the mediation of challenge that will be implemented is a modification of the Three-to-One technique (Rodriguez & Bellanca, 2007, p. 190-191). Three clips of different performances of Wildes famous hand-bag monologue from The Importance of Being Earnest will be presented. In trios, each student will argue why one of the performances was the best. The remainder of the exercise will continue as detailed.

Mediation of Self-Change Mediation of self-change is crucial to the success of this unit. Theatre, especially the performance aspect, is an exercise in compassion and empathy. At its core, performers must understand how to accept and give constructive criticism. Each lesson in the unit includes a performance and, after the first, students are expected to give verbal criticism of their peers performance. The skill of giving and accepting constructive criticism is modeled carefully. First, the educator models how to give feedback following the first performance, being explicit on the process of commenting on workable areas of growth and pointing out areas of strength. After the first performance, all students have been in the hot seat and become sympathetic to the feeling of nervousness and fear that can partner it. After these two lessons, the vast majority of students are painfully aware of the power of their words and now to shape their comments into a positive experience.

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Once students receive feedback, they are ready to reflect on their growth in the lesson. By using a simple PMI chart following each performance, students are provided the opportunity to develop deep reflection [and a] disposition to learn (Rodriguez & Bellanca, 2007, p. 2004).

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Figure 1. Example of Cornell Note Method (Brown, 2013).

Topic/Objective: Name: Class/Period:

Cornell Note Method

Essential Question:

Date: Questions/Key Points: What I Know: Notes:

What I Want to Know:

Summary: What I Learned:

THEATRE I HISTORY UNIT Figure 2. Circle Map example for use in brainstorming or defining in context (Assessment, n.d.)

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Figure 3. Tree Map example for use in classifying or categorizing (Burleson, 2013).

THEATRE I HISTORY UNIT Figure 4. Double Bubble Map for use in comparing and contrasting (Double bubble, 2012).

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Figure 5. Performance Rubric example: Elizabethan Monologue.

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Figure 6. Example of a lighting plot to promote logical thinking (Whinnery, 2006).

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Resources American Alliance for Theatre and Education. (n.d.). National standards for theatre education, grades 9-12. Retrieved from http://www.aate.com/?nationalstandards912 Colorado Department of Education, Office of Standards and Assessments. (2009). Colorado drama and theatre arts standards. Retrieved from: http://www2.cde.state.co.us/scripts/ allstandards/costandards.asp?stid=2&stid2=1&glid2=0 Rodriguez, E. R., & Bellanca, J. A. (2007). What is it about me you can't teach?: An instructional guide for the urban educator (2nd ed.). Thousand Oaks,CA: Corwin Press. Thinking Maps, Inc. (2012). Thinking maps. Retrieved from http://thinkingmaps.com/

Figures Resources 1. Brown, A. (2013, April 1). Cornell note method KWL chart. Retrieved from: http://ls5443cmo.wikispaces.com/file/detail/Cornell%20Note%20Method%20KWL%20 Chart.docx 2. ThinkingFoundation. (n.d.). Assessment using thinking maps [JPG]. Retrieved from: http://thinkingfoundation.org/assessment/images/assessment_tm_circle.jpg 3. Burleson, C. O. (2013, December 12). Tree map [JPG]. Retrieved from: http://drb.lifestreamcenter.net/Lessons/process_maps/classify.gif 4. Thinking Maps, Inc. (2012). Double bubble map [JPG]. Retrieved from: http://1.bp.blogspot.com/-cnD8_JjXlnQ/T81jWahMGbI/AAAAAAAAAG0/ llDP9OKzzyk/s1600/3%2BDouble%2BBubble%2BMap%2BExample.png 6. Whinnery, P. (2006, March 20). Tartuffe lighting plot [JPG]. Retrieved from: http://www.dolphin.upenn.edu/pacshop/Images/turandot_plt.png