Theatre 4240: Teaching With Creative Drama Project Descriptions

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Theatre 4240: Teaching With Creative Drama Project Descriptions Table of Contents Focus: Leadership Skills in Facilitating Creative Drama * Project: Leading A Theatre Game pg 2 Focus: Promoting Artistic Excellence * Teaching Project #1: Teaching Acting/Tech Th pg 4 The Workshop Plan pg 6 An Example of An Assessment Strategy pg 8 The Workshop Study pg 9 Final Reflections: The Workshop Study pg 10 Focus: Engaging in (Multi)Cultural Dialogue * Projects: Reading Responses - Grady 2, 3, 6 pg 11 *Teaching Project #2: Teaching Theatre History/Playwriting with CD pg 12 The Workshop Plan pg 14 The Workshop Study/Final Reflections pg 15 * Take Home Exams (total of 2) pg 16 Focus: Facing New Directions/Meeting Other Challenges * Final Project (2 options) Option A: Assembling a Class Notebook pg 17 Option B: Assembling a Professional [Electronic] Portfolio pg 19 * Final Exam (2 options) Option A: Classroom Practicum pg 22 Option B: Text Review pg 24 * Project: Summary of Guest Speaker pg 25 * Project: Classroom Observation Essay (EXTRA-CREDIT) pg 26 * Suggested Reading in Creative Drama pg 28 * cA Few [More] of My Favorites d Reading List pg 31 * Project: Personal Response to a Production (EXTRA-CREDIT) pg ... more. less.

32 2 Project: Leading a Theatre Game Introduction Everyone at one time or another has cdone some theatre, d whether as a participant or as a leader. That is because many of the simple games and activities familiar to all teachers and children can come under the umbrella of theatre. A game like cSimon Says, d an action song like cI Know an Old Lady, d or a narrated story like the ones often used in scout camps or recreational settings, are good introductory activities to the creation of theatre. Many games, in fact, have been used exclusively in the work of some theatre educators (for example, Viola Spolin 9s Improvisation for the Theatre ). What is useful about the use of theatre games? " They create relaxed, good feelings and promote security. " They give students a good physical workout and develop muscular coordination. " They promote group cohesiveness and focus on the importance of a unified effort in achieving a common goal. " They help the students achieve some of the many skills that will be useful for all theatre work. " Many of the activities can be coordinated with other theatre lessons or other curricular material. " They can be used as a warm-up or cool-down for longer sessions. The games typically are seed or kernel strategies to develop for lessons tailored to student needs and curricular goals. The strategies are brief prompts that help students think creatively. It is important to select, adapt, and expand, as appropriate to particular classrooms. The most essential concepts that children need to explore and apply are fundamental to the role of player that include: energizers and warm-ups; relaxation, concentration, and trust; pantomime and body movement; use of the senses; imagination; language, voice, and speech; and characterization. Therefore, the games are typically categorized with respect to its conceptual focus, though many could be placed in more than one category. For example: Energizer: cLine Up Different Ways. d Tell students to line up alphabetically, but birthday, by height, etc. Once in line, they then interview those around them to find out three things not known before. Pantomime cNumber Freeze. d Students number off in fives. Give them a setting (e.g., a circus). Teacher calls a number and these students pantomime an action done in the designated setting. The next number is then called and this group mimes while the others observe. 3 Other Commonly Used Theatre Games Recalling Random Items Cover the Space (step/connect) Pow! Grocery Sack (name game) Two Words (create an open-ended scene) Pruii Killer Palm-Leading Circle Story (one word around the circle) Trust Drive Transformation Move Along (to various descriptors) Insect Count to 20/Countdown Freeze (improvisation) Walking Mirrors Creating an Improvisation from a Prop Knots/Pretzel Sound & Movement Exercise (delivering/receiving) Project Overview There are two components or parts to this project: 1) in-class presentation 2) game summary Part One: In-Class Presentation Think of and then lead the class in a theatre game that: " can be easily organized. " focuses on a specific concept (e.g., concentration, observation, imagination, sensory or emotional recall, movement and rhythms, pantomime, building ensemble, or vocal expression). " the rules and discipline are built into the activity or game. " takes no more than five minutes to play out. Part Two: Game Summary Write a one-page summary of the procedures that one follows to play the game. SEE SYLLABUS FOR DUE DATE. 4 Teaching Project #1: Teaching Acting/Technical Theatre with Creative Drama Project Overview There are four components to this project: 1) unit overview (checking in on TP#1) 2) three workshop plans 3) in-class presentation of the workshop plan 4) workshop study (self-evaluation of in-class presentation) Part 1: Unit Overview 3 Checking in on TP#1 Working with a partner, provide an oral summary of your instructional unit in 10 minutes or less (akin to a practice run-through in production). Class members will have the opportunity to ask questions and to provide comments, feedback, and suggestions. Part 2: Three Workshop Plans Working with a partner, create an instructional unit consisting of a series of three related workshop plans. Each must be 45 minutes in length, appropriate to the age level you plan to work with, and consist of a sequence of games or exercises that have a particular theatre focus 4 either on Acting or Technical Theatre. Finally, it must follow the format as specified by the instructor. The final copy of each workshop plan must be typed (double-spaced). Refer to syllabus for due date, and Taylor, Theatre: Art in Action . For details on what to include in each workshop plan, see attached, cThe Workshop Plan. d The workshop plans will be due on the day you are scheduled to present the in-class session. Part 3: In-Class Presentation Come to class prepared and ready to lead class members in a creative drama session. The sequence of presentations will be determined by random drawing. A hand-out will be generated that delineates the sequence of in-class presentations. Part 4: The Workshop Study This will be a detailed self-evaluation of the in-class presentation. See attached, cThe Workshop Study. d The workshop study is due: SEE SYLLABUS. Other Pertinent Information Some class time will be devoted to planning of the sessions. At this time, I will move from team to team, addressing specific questions and concerns. However, it is important that you understand that a large amount of out-of-class preparation will be required. The workshop plans and workshop study must be typed. Some of your lesson plans may be reproduced and placed in a notebook for future students. Links on the Internet that might be useful: TEKS home page 3 ( www.tea.state.tx.us//teks ) AAAE 3 Association for the Advancement of Arts Education EdTA 3 Educational Theatre Association AATE 3 American Alliance for Theatre & Education 5 Wolf Trap Institute for Early Learning Through the Arts ArtsEdge The Kennedy Center 9s national arts education dissemination network, with lesson plans, curriculum, and other resources. Also has links to National Standards and what used to be called Very Special Arts Useful Publications Stage of the Art Tolerance Educational Leadership ADEM (Australian Drama Education Magazine) ASSITEJ Annual: Yearbook of Theatre for Children and Young People Drama Matters Drama Australia Journal The International Journal on Arts Education (online) Youth Theatre Journal TYA Today (ASSITEJ/USA) Theory in Practice Teaching Artist Journal Theatre Teacher RIDE (Research in Theatre/Drama Education) Heinemann Publications Numerous books on theatre/drama, arts, and learning ERIC 3 Educational Resources Information Center This is actually a database that you can access from our library webpage. Sample Topics for Lesson Plan *An Introduction to Commedia de 9ll Arte (with mask-making and excerpts from A Company of Wayward Saints or Scapino ) *The Impact of Job Relocation on Children/Families *Migratory Patterns *The Trail of Tears *Immigration to the U.S. (as portrayed in the play, Bocon (Big Mouth), or in the movie, Moscow on the Hudson ) *Adding Sound and Movement to Personal Family Stories Recommended Reading Booth, David. Story Drama. Portsmouth, NH: Heinemann. Chapman, Gerald. Teaching Young Playwrights. Portsmouth, NH: Heinemann. Neelands, Jonothan. Making Sense of Drama: A Guide to Classroom Practice. Portsmouth, NH: Heinemann. O 9Neill, Cecily. Drama Worlds. Portsmought, NH: Heinemann. Smith, J. L., and Herring, J. D. Dramatic Literacy: Using Drama & Literature to Teach Middle-Level Content. Portsmouth, NH: Heinemann. 6 cThe Workshop Plan d You are to carefully craft three workshop plans for a theatre instructional unit, with each session at least 45 minutes in length. Additional Requirements for the Workshop Plan 1) Please keep in mind that each workshop plan must build on each other and must have a specific theatre focus 4either on ACTING or TECHNICAL THEATRE. Refer to cSpiral Curriculum for Theatre Arts, d cNational Standards, d cTEKS d for specific concepts and objectives. Also, use Theatre: Art in Action as a reference. 2) In your workshop plan, you may focus on various forms, such as art, music, movement, writing, monologues, working with fixed text, open-ended scenes, or even puppetry. 3) It must adhere to the following format, as specified below in cComponents of the Workshop Plan. d Review Grady 9s cAppendix: Some Drama Basics, d if needed. Components of the Lesson Plan The lesson plan must include the following components: Title of Session Be Creative! Target Age or Grade List of Materials Make a list of everything you will need in order to complete the session. Include books, actual materials (scissors, tape, glue, crayons, etc.), videotapes, and compact discs. No detail is too small. Engagement Strategies (Motivation) As Grady states, plan for ways to chook d the students. In other words, describe the attention- getting devices or activities you will employ to build, as she states, can atmosphere of curiosity. d Sharing the Story or Source Material 1. Ask yourself: What is the overarching concept that connects the art and the academic content areas? What is the specific focus of the session? Let 9s say the main theme is, cWhy do people move? d Though interesting, you will need to be more specific by examining a specific aspect of the theme. For example, cHow do we as humans learn to adapt to a new environment? d Identify the specific question(s) you are exploring. These questions will provide a FOCUS for your session. 2. The focus in this class will always be that workshop participants are learning about and through theatre. Again, clarity is enhanced when you are specific. Ask yourself: What are the specific objectives, goals, or standards you want to emphasize? List the arts objectives, goals, or standards you will use for this project. 7 3. Then, identify your cpre-text. d Ask yourself: What will you use as a touchstone or springboard into the concept? It may be a poem, excerpt from a play or novel, or even a picture book. In what ways will you use that material? How will cmanage d this material? Exploring the Story (in two parts: pre-drama and improvisation) 1. PRE-DRAMA: There are a variety of ways to explore the source material. Before asking students to step onto role and improvise difficult situations, I suggest beginning with one or two warm-up activities that prepare the participants to enter the virtual or fictional world. I call this section, cPre-drama. d For example, students may need to experience a particular environment 4a cramped space, for example, if using The Diary of Anne Frank as a pre-text. Describe the games or exercises you employ in detail. At this point, I suggest incorporating 2-3 theatre games that will get at some of the concepts of acting/tech theatre while literally getting participants on their feet. You may want to refer to library and internet resources for age-appropriate theatre games and exercises. McCaslin 9s and Taylor 9s texts will also provide interesting ideas. 2. IMPROVISATION: As you move the participants to step into role, the focus will almost always be on creating believable characters or on delineating character relationships. Ask yourself: What activities, games, exercises, or challenges can I add that will enhance their understanding of the situation? Pay careful attention to the sequencing (simple to complex) and casting (solo, pairs, or small groups). Keep in mind that tableaux are but one option of many forms (narrative pantomime, verbal improvisation, sound montages, etc.). Describe in detail the improvisational activities and scenarios participants will enact . While facilitating the drama work, emphasize learning through discovery (posing questions, stopping the playing to reflect and then replaying, side-coaching). Disclose objectives, and explain games and activities. Allow time for students to plan, play, evaluate, and replay. Reflection Reflection, or what I often associate with assessment, is part of the learning cycle, not separate from it. Meaningful reflection extends the definition of learning to not only include representation but also dialogue. Students who experience assessment as episodes of learning begin to understand that reflection/assessment is ca matter of offering informed judgments, not simply a matter of marking the number correct d ( Wolf and Pistone, Taking Full Measure: Rethinking Assessment Through the Arts, p. 24). Ask yourself: What if I had the task of assessing each of the students who will participate in my creative drama session? What activity would get students 9 to cpresent d (display) or crepresent d their learning? What activity can I incorporate that would provide concrete evidence of their learning? What grading criteria would I use? How would I go about assigning each a grade? Identify and describe a concrete, structured activity (as opposed to just chatting) that will allow students to reflect on the concepts explored through the lesson 9s activities. Refer to cAn Example of an Assessment Strategy. d 8 cAn Example of an Assessment Strategy d Drama Assessment Criteria: Each poem performance must have examples of the following: Characters: The student circles two words in the poem that would make good characters. There must be a character for each person who participates in the poem. Each person must act out a character. Gesture: The student circles two words that would make good gestures. When performing the gestures, the student must include examples of gestures that are mirrored, repeated, and transformed. Group Sculpture: The student circles two words that would make a good sculpture. The poem performance must include at least two group sculptures, and everybody in the group must be part of the sculpture when performed. Grade: Check Student included and demonstrated the three assigned tasks from assignment instruction sheet in their final performance. Check Minus Student did not include and demonstrate the assigned drama tasks from the assignment instruction sheet in their final performance. NOTE: Student performances were videotaped for teacher and student review. AN ASIDE: I have just used what is called a rubric. A rubric is a set of scoring guidelines for evaluating students 9 work. It is detailed and includes both written and performance components. The scoring can be in the form of points and percentages and can be converted to a letter grade (Check=A; Check Minus=B). Keep in mind that the letter grade finally attached is accompanied by a wealth of information related to the student 9s demonstrated knowledge. Review Patterson, Chapter 4. 9 cThe Workshop Study d Introduction The certification process of the National Board for Professional Teaching Standards (a different process from Texas certification, which includes passing the EXCET exam) encourages the development of highly qualified teachers and, thus, seeks to enhance the status of the teaching profession. In the National Board 9s view, teachers are knowledgeable professionals who know how to use their cwisdom of practice, d skill, and judgment to improve student learning. In brief, the national certification process focuses on the link between reflective teaching and student learning. Similar to the teachers seeing national certification, I will ask you to reflect on and examine your classroom practice. Assignment Overview You will analyze the in-class presentation of your workshop plan. The aims are to: 1) assess the impact of your instructional techniques on student learning, and 2) reflect on how you could improve the lesson and student learning. As part of this assignment, type your responses to the questions in cFinal Reflections: The Workshop Study. Please respond to the questions in detailed, well-written paragraphs (typed, double-spaced). Due: SEE SYLLABUS. Suggested Reading American Federation of Teachers and National Education Association. (1999). National Board Certification: A Guide for Candidates, 1999-2000. Online. Johnson, S. M. (2000, June 7). cTeaching 9s Next Generation: Who Are They? What Will Keep Them in the Classroom? d Education Week 14.39: 48, 33. Lyons, N. (1999). cHow Portfolios Can Shape Emerging Practice. d Educational Leadership 56.8: 63-65. National Board for Professional Teaching Standards. (1999). What Teachers Should Know and Be Able to Do. Southfield, MI: Author. Stigler, J. W., and Hiebert, J. (1999). The Teaching Gap: Best Ideas from the World 9s Best Teachers for Improving Education in the Classroom. New York: The Free Press. 10 cFinal Reflections: The Workshop Study d Write each response in well-developed paragraphs. Address the following questions: What went well during this session? What will you work on and/or do differently next time? What do you think were the key ideas/themes/learnings that students gained from this session? What did you as an adult learn? Attach any artifacts, samples of student work, curriculum plans, photos, or assessments that you think clarify what this project was about. DUE: SEE SYLLABUS. 11 Project: Reading Responses 3 Grady, Chapters 2, 3, 6 Project Overview Read the assigned chapter in Grady 9s Drama and Diversity. Begin your written response by summarizing the key ideas and then further explore 1-2 issues you find important. For each assignment, answer the following questions: What are the key ideas presented in this chapter? What is the most significant thing you learned by reading this chapter? What question is uppermost in your mind after reading it? How is the information/issue applicable to the field of educational theatre? Use the questions/practical problems to consider/case study situation at the end of each chapter to guide your response. Also, think of the assignment as a reading response journal. While the reading material for the course will be intellectually rigorous, it should also be an important personal experience--sometimes joyful, sometimes disturbing. I look forward to contributions that reflect your response to the content or to your re-vision of subject matter such as theatre. This assignment should help you formulate and crystallize your vision of theatre in the classroom or with children/adolescents. Your reading response should be 2-3 pages in length (typed, double-spaced). Project: Reading Response 3 Grady, Ch 2 due SEE SYLLABUS. Project: Reading Response 3 Grady, Ch 3 due SEE SYLLABUS. Project: Reading Response 3 Grady, Ch 6 due SEE SYLLABUS. Responses on Ch 4: Gender Reorientations and Ch 5: Sexual Orientations may be completed for extra credit (25 points each response). 12 Teaching Project #2: Teaching Theatre History/Playwriting Project Overview There are four components to this project: 1) unit overview (checking in on TP#2) 2) three workshop plans 3) in-class presentation of the workshop plan 4) workshop study (self-evaluation of in-class presentation) Part 1: Unit Overview 3 Checking in on TP#2 Working with a partner, provide an oral summary of your instructional unit in 10 minutes or less (akin to a practice run-through in production). Class members will have the opportunity to ask questions and to provide comments, feedback, and suggestions. Part 2: Three Workshop Plans Working with a partner, create an instructional unit consisting of a series of three related workshop plans. Each must be 45 minutes in length, appropriate to the age level you plan to work with, and consist of a sequence of games or exercises that have a particular theatre focus 4 either on Theatre History or Playwriting. Finally, it must follow the format as specified by the instructor. The final copy of each workshop plan must be typed (double-spaced). Refer to syllabus for due date, and Taylor, Theatre: Art in Action . For details on what to include in each workshop plan, see attached, cThe Workshop Plan. d The workshop plans will be due on the day you are scheduled to present the in-class session. Part 3: In-Class Presentation Come to class prepared and ready to lead class members in a creative drama session. The sequence of presentations will be determined by random drawing. A hand-out will be generated that delineates the sequence of in-class presentations. Part 4: The Workshop Study This will be a detailed self-evaluation of the in-class presentation. See attached, cThe Workshop Study. d The workshop study is due: SEE SYLLABUS. Other Pertinent Information See TP #1 Useful Links on the Internet See TP #1 Sample Topics for Lesson Plan *U.S Jews 9 Reaction to WWII in Europe (as portrayed in Brighton Beach Memoirs, Buloxi Blues, or Enemy at the Gate ) *The Harlem Renaissance (connect to photography or the work of Langston Hughes or Nora Hurston) 13 *Zoot suit Riots in Los Angeles (as seeen in Valdez 9s play or movie, Zoot Suit ) *Teenagers in the 1950s (as seen in Grease ) *Civil Rights Movement (as portrayed in Norman Rockwell paintings or in the play, North Star ) *Japanese Internment Camps (as seen in movies such as Snow Falling on Cedars ) *Pearl Harbor Recommended Reading Fennessey, Sharon. History in the Spotlight. Westport, CT: Heinemann. Croteau, J. Perform It. Westport, CT: Heinemann. Manley, Anita, and O 9Neill, Cecily. Dream-seekers: Creative Approaches to the African American Heritage. Westport, CT: Heinemann. 14 cThe Workshop Plan d You are to carefully craft three workshop plans for a theatre instructional unit, with each session at least 45 minutes in length. Additional Requirements for the Workshop Plan 1) Please keep in mind that each workshop plan must build on each other and must have a specific theatre focus 4either on THEATRE HISTORY or PLAYWRITING. Refer to cSpiral Curriculum for Theatre Arts, d cNational Standards, d cTEKS d for specific concepts and objectives. Also, use Theatre: Art in Action as a reference. 2) In your workshop plan, you may focus on various forms, such as art, music, movement, writing, monologues, working with fixed text, open-ended scenes, or even puppetry. 3) It must adhere to the following format, as specified below in cComponents of the Workshop Plan. d Review Grady 9s cAppendix: Some Drama Basics, d if needed. Components of the Lesson Plan As in TP #1, each plan must include specific components. Refer to the descriptions in TP #1. Title of Session Be Creative! Target Age or Grade List of Materials See TP #1. Engagement Strategies (Motivation) See TP #1. Sharing the Story or Source Material 1. Identify the specific question(s) you are exploring (FOCUS). See TP #1. 2. List the arts objectives, goals, or standards you will use for this project. See TP #1. 3. Then, identify your cpre-text. d See TP #1. Exploring the Story (in two parts: pre-drama and improvisation) 1. PRE-DRAMA: Describe the games or exercises you employ in detail. See TP #1. 2. IMPROVISATION: Describe in detail the improvisational activities and scenarios participants will enact . See TP #1. Reflection Identify and describe a concrete, structured activity (as opposed to just chatting) that will allow students to reflect on the concepts explored through the lesson 9s activities. See TP #1. 15 The Workshop Study Introduction Refer to TP#1. Assignment Overview Refer to TP #1. Final Reflections: The Workshop Study Respond in well-developed paragraphs. Address the following questions: What went well during this session? What will you work on and/or do differently next time? What do you think were the key ideas/themes/learnings that students gained from this session? What did you as an adult learn? Attach any artifacts, samples of student work, curriculum plans, photos, or assessments that you think clarify what this project was about. DUE: SEE SYLLABUS. 16 Take-Home Exams Take-Home Exam #1 Covering: Mc 1-7, 11, Appendix B Grady 3 Appendix: Some Drama Basics *Patterson 1-4, 9 *Handout 3 Approaches to Creative Drama *Handout 3 Process Drama (O 9Neill) *Handout 3 Making Learning a Dramatic Experience (Smith & Herring) *Handout 3 Poetry (Christensen) *TEKS *Spiral Curriculum *National Standards Must be typed, double-spaced. No late exams will be accepted. Due: SEE SYLLABUS. Take-Home Exam #2 Covering: Mc 8-9, 14, 19-21, Appendix C Jensen 3 Preface, 1, 4, 5 Grady 3 Preface, 1, 2, 4, 5, Postscript *Handout-Approaches to Creative Drama *Handout-Ethic of Care (Noddings) *Patterson 5, 8 *TEKS *Spiral Curriculum *National Standards *Hand-out 3 MI *Hand-out 3 DBTE Must be typed, double-spaced. No late exams will be accepted. Due: SEE SYLLABUS. 17 Final Project Two Options Please read carefully. There are TWO options for the assignment, cFinal Project. d You may complete EITHER cOption A: Assembling a Class Notebook d OR cOption B: Assembling a Professional [Electronic] Portfolio. d Option A: Assembling a Class Notebook You will prepare a cclass notebook d with the following sections: Part I - Class Notes Reflect on and write a summary of 3 sessions from the semester that were extremely important or significant for you. Part II - Building a Resilient Classroom Climate Through Games or Exercises Generate a list and brief description (i.e., chow to d instructions) of 3 new theatre games or exercises that you believe are appropriate to the age level you plan to work with in the near future. Make sure you identify the targeted age level, and make sure you include items that focus on a variety of theatre concepts (e.g., active listening, active imagination, sensory recall, emotional recall, observation, spontaneity, characterization, character analysis, physical/character movement, stage areas, functions of costumes, vocal expression and projection, playwriting, improvisational skills, play structure [plot, theme/metaphor, climax], or painting skills). You may use library as well as internet resources, but make sure you are properly citing your sources. Part III 3 Teaching Philosophy Develop a typewritten, but brief essay that reflects your carefully articulated and well-organized position (philosophy) on the teaching of theatre. Although a cphilosophy d paper of this kind represents your beliefs at this given point in time, it should also reflect current theory and practice in theatre education and literacy. This publishable paper should be a minimum of 2 typed, double-spaced pages, but no more than 3. Keep in mind that a cphilosophy d paper is a cposition d paper and addresses the cwhy d question. You may describe concepts learned, the value of employing creative drama in the classroom, personal observations, or conclusions. The following list of questions will get you started. Keep in mind that you do not have to address every question: a) What are you as instructor trying to cdo d with your when you use creative drama in the classroom? b) What do think is important for students to learn about dramatic improvisation, theatre, and the artistic process? b) When a particular creative drama session cworks, d what exactly are you and the students doing? 18 c) If you (as instructor) are csuccessful, d how will your students be different after the class than they were before? In other words, what kinds of changes do you want to observe in your students as a result of their participation in creative drama activities? d) When the class is over, how do students behave or think toward theatre or the subject content explored during the drama session? What do they say differently? What would I as an outside observer csee d in them or hear that would tell me they are different? Part IV 3 Useful Journals/Magazines Peruse several different journals or magazines related to theatre and education. Identify a total of three journals that will help you make choices about philosophical and pedagogical issues related to theatre education. For each journal or magazine, write a short summary (100-150 words) detailing its purpose and targeted audience. Also, note why you chose the item or how you plan to use this in your future work. Part V 3 Useful Theatre Associations, Conferences, or Festivals Research and identify a total of three theatre associations, conferences, and festivals that will offer opportunities that are in line with your own theatre approach and goals. Use the following questions to help you focus your research: What are the options in your area? What are your options outside your immediate area (e.g., national or international)? What does each organization, conference, or festival offer for students and teachers? Are you interested in a conference that provides workshop sessions for students? Do you want the theatre program at your school or theatre to compete or just participate for ratings? How important is it for your students to share their performance work with other schools? Are there scholarship and college audition opportunities with any of the organizations? For each selected theatre association, conference or festival, write a short summary (100-150 words) detailing its purpose and targeted audience. Note why you chose the item or how you plan to use this in your future work. Project due: SEE SYLLABUS. 19 Final Project Option B: Assembling a Professional [Electronic] Portfolio Overview Think of your professional portfolio as a cultural memoir 4an overview of past, present, and future, noting where you have been, who you are in the present, and what in the future you want to accomplish. The purpose of this portfolio assignment is to give you an opportunity to reflect on your professional choices. The portfolio is meant to be a small sample of your work or selected experiences that have been meaningful to you. Some of these experiences may have been successful and some might not have been but were nevertheless learning experiences for you. Some of the items you include will be required and some will be of your own choosing (see below). The required items will need no caption. However, for each of the optional items you include, you will write a separate caption or description of the item (or event or incident or production) that explains why that item is meaningful to you and what you learned from it. The caption will be about a paragraph in length 4around 100-150 words (see cContextualizing Images d below). Your portfolio should contain the kind of things that you will eventually show a prospective employer. The following two items must be included: 1. Statement of your personal philosophy related to the teaching of theatre 4300 words (max) and typed. This statement articulates your philosophy or approach to teaching and/or the use of theatre/improvisation/creative drama. For additional details, refer to Option A: Part III 3 Writing a Teaching Philosophy. 2. A copy of your resume. Choose 6-8 items from this list to include: 1. Sample workshop plans you have created. 2. Copies of hand-outs and other materials developed for classes, especially if you created extensive and unusual materials. 3. Copies of tests used, including an item analysis and some description of elements that were re-taught or copies of assessment checksheets used to evaluate student work. 4. Evaluation of your teaching made by a supervisor, your students, a peer, yourself. 5. Materials you prepared for a play you directed, designed, performed in, or worked on. 6. Samples of student drama work (include students of all ability levels), including your comments and evaluation of the work. 7. Samples of resource materials or lists of resource materials, lists of films, videos, cd roms, etc. 8. Images (e.g., pictures of bulletin boards or photos of interactions with students) that might document your work in the classroom or studio. 9. A videotaped clip of a classroom lesson and your self-evaluation of that lesson. 10. Student letters, thank-you notes, and evaluations. 11. Videotaped clips from productions/scenes you have directed, designed, performed in, or worked on. 20 12. Writing samples: Essays, papers, plays, or other assignments/projects you have written for classes especially those which demonstrate creativity, research, or reflective thought. 13. Set, props, sound, costume, makeup designs/renderings you did for a class, or write about a running crew experience that was particularly meaningful. For each item in the optional list, you must include a caption. I call this ccontextualizing d images as the reader/viewer may not know the specific context. Keep in mind that the meanings or significance of the items may not be immediately apparent to the reader/viewer. Refer to attached handout, cAn Example. d The portfolio, as a finished product, should be 10-20 pages in length. All narrative strands (including titles, captions) must be typed (double-spaced). The portfolio review must be turned in on: SEE SYLLABUS. Burn a dvd or cd of your portfolio. There will be a laptop computer available for your use in class. Be prepared to give a 5-7 minute, in-class (oral) summary of your portfolio. 21 Project: Assembling a Professional [Electronic] Portfolio Contextualizing Images: An Example When I look upon this photograph . . . I have no difficulty remembering the circumstances of the picture. It was taken by my brother at Christmas-time during my first teaching assignment, which was to teach English to 13-, 14-, and 15-year-olds. It was the first time I had gone home in some sort of professional capacity. I had just turned 22, and wanted to look intellectual and somewhat literary or artistic 4hence the octagonal horn-rimmed glasses, the dark turtle neck sweater, and the photograph in black and white, something significant at the time, since snapshots were supposed to be in color. The year was 1970, and I remember choosing very carefully the very short jumper/dress that I am wearing 4as some sort of statement about who I thought I was (young and radical) and who I thought I was not (conservative and part of the status quo). (from Reinventing Ourselves as Teachers: Beyond Nostalgia, ed. Claudia Mitchell and Sandra Weber) 22 Final Exam Two Options Please read carefully. There are TWO options for the assignment, cFinal Exam d: Option A: Classroom Practicum, or Option B: Text Review. Complete ONE OF THE FOLLOWING: Option A: Complete the assignment, cClassroom Practicum. d 1) Working with a partner, conduct one of your lessons from either Teaching Project #1 or #2 with school-age children/adolescents. 2) Immediately following the lesson, write a detailed evaluation of your workshop session (2-3 pages in length; typed; double-spaced) conducted in an educational environment. Be prepared to present a 5-7 minute oral overview during the final exam period. See the instructions below. Because classroom experience is crucial to your professional development, I offer cOption B d and hope that a majority of the class will choose to take. This workshop may be appropriate IF: a) it is challenging and well organized, and b) you choose to present it at a local school. Keep in mind that preparation is key to success. Please note that with this option you will need to schedule your workshop and conduct it on your own time. You may conduct it solo or with a partner. The Classroom Practicum Evaluation (basically, a self-evaluation) must be turned in on the final exam scheduled time/date (SEE SYLLABUS). NOTE: If the cClassroom Practicum Evaluation d is clate, d I will not accept it. Classroom Practicum: Self-Evaluation of Creative Drama Session In your self-evaluation, include the following: a) a description of the activities Briefly outline the activities that were conducted at the session. b) a description of how the players responded to the material (effective moments, poorly played work) What were the participants 9 reactions to your workshop? How did they play? Did they enjoy the activities? Were they committed to their work? What did they do to give you the impression that they enjoyed or were committed to the work? Did they cooperate? c) a description of your impression (i.e., feelings and reactions) of the session (confident, nervous, your reactions to player problems) Were you sufficiently prepared? Did you establish an effective rapport with the group? Was there effective control or discipline within the group? What was 23 effective? Ineffective? How well did you cthink on your feet d? Did you maintain a positive and energetic attitude? What changes would you make? d) a description of what you "learned" 4trite as it may sound, there is value and validity to this strategy. Discuss what you learned about planning, leading, managing the session. Assess the session (activities, sequences, teacher behaviors/actions that helped or didn 9t meet the workshop goals). Discuss strengths and weaknesses (things to work on in the future). 24 Final Exam Option B: Write a theatre text review Write a theatre text review of one of the following texts most often used in Texas schools: The Stage and The School Theatre Arts in the Elementary Classroom, Volume One: K Through 3 rd Grade Theatre Arts in the Elementary Classroom, Volume Two:4 th Grade Through 6 th Grade Or, you may choose one of the texts listed below: Jo Beth Gonzalez. Temporary Stages: Departing from Tradition in High School Theatre Education. Danile Kelin II. To Feel As Our Ancestors Did: Collecting & Performing Oral Histories. Lenore Kelner & Rosalind Flynn. A Dramatic Approach to Reading Comprehension: Strategies and Activities for Classroom Teachers. Joan Lazarus. Signs of Change: New Directions in Secondary Theatre Education . Jonothan Neelands & Tony Goode. Structuring Drama Work. A drama text report should be 6-7 pages in length, typed and double spaced. In your review address the following: 1. Provide full bibliographic information on the text (author, title, publisher date). 2. What is the author's philosophy or philosophical approach to drama/improvisation with children and youth? Quote or summarize the statements with page references. (Remember that a philosophy usually answers "why" questions.) Is the author's philosophy similar to other authors you have read? 3. Describe the methodological approach to drama the writer advocates in the text (linear, holistic, therapeutic, etc.). What other authors have you read who have a similar approach? Discuss or provide an example of an activity that represents this approach. (Methodological approaches generally answer "what" or "how" questions.) 4. Describe the most appropriate readership for the text (e.g., drama specialists, elementary school teachers with no drama background, pre-service college students, etc.). 5. Inventory the contents for any form of cultural bias (refer to Grady). How reflective of diversity are the contents or illustrations in the text? 6. What is your personal reaction to the text? (Do you agree or disagree with the writer's philosophical approach to drama/theatre? Why? Was it an insightful or significant work for you? Why? How is the text of value to the field of educational theatre today? The theatre text review must be turned in on the final exam scheduled time/date (SEE SYLLABUS). Be prepared to give a 5-minute, in-class summary of your text review. NOTE: If the cTheatre Text Review d is clate, d I will not accept it. 25 Project: Summary of Guest Speaker 9s Ideas In preparing for the guest speaker 9s visit, review the following questions: Environment: What is the grade level? How is time structured? How are students grouped for instruction? What are the routines of the classroom? Traditions: What events and activities and products seem important to students? To the teacher? What symbols, slogans, and ceremonies identify membership? How do the community members 4i.e., students and teacher 4view and relate to the school? What aspects of the classroom culture seem to support learning and academic achievement? What might be some of the beliefs and expectations that guide the actions of the students? How do you think decisions are made and conflicts resolved? Review the data/information collected during your observation of the guest speaker. Write a 2-3 page summary of the main ideas expressed by the guest speaker. Conclude your paper by responding to the following questions: What did I learn about teaching? What did I learn about teaching theatre? 26 Project: Classroom Observation Essay (Extra-Credit) Introduction PREPARATION I believe a basic part of a positive learning experience for a prospective teacher involves observing other teachers and teaching styles. Prospective teachers can gain valuable insights and observe that many types of teachers make up a school. Observing is a skill we all frequently take for granted. We assume everyone sees the same interactions and the same teaching techniques. However, observation does not have to be a cboring d activity. Instead, guided observation allows you to learn by seeing and recording information. Since a classroom is quite an active learning environment, there are many things to focus on. So, set a focus. It also allows you to observe what is going on in a classroom in an organized way. By setting a focus, you observe areas you may not ordinarily attend to in this classroom. Think of guided observation as a way to create topics for discussion. ACT Have a clear focus in mind before entering the classroom. Plan to arrive a few minutes before the class is scheduled to begin. Observe and take notes for one class period. A word about note-taking: While observing, you should write what is happening. This can include what you see as well as what you hear. For example, you may write all the questions the teacher asked during a given period or write how one student responded during the entire class period. This is often called scripting a lesson. Charting Student/Teacher Interactions: You may draw a picture of the classroom. During the observation you can draw lines showing who in the classroom was called upon and how many times different students spoke. This may reveal interesting details of the teacher 9s teaching style (e.g., how much a teacher is talking in relation to how much the students are allowed to interact). REFLECTION Review the data collected during your observation. Ask yourself the following questions: Environment: How would you describe the classroom? How is space organized? What is the climate in the classroom? Formal Practices: What is the grade level? How is time structured? How are students grouped for instruction? What are the routines of the classroom? 27 Traditions: What events and activities and products seem important to students? To the teacher? What symbols, slogans, and ceremonies identify membership? How do the community members 4i.e., students and teacher 4view and relate to the school? What aspects of the classroom culture seem to support learning and academic achievement? What might be some of the beliefs and expectations that guide the actions of the students? How do you think decisions are made and conflicts resolved? WRITE Write a 2-3 page reflective paper summarizing your findings. This assignment is designed to help you as a theatre practitioner view the values and behaviors of the field site that are taken for granted in order to evaluate them for their impact on teaching and learning. Weave in responses to the questions listed in cREFLECTION. d Conclude your paper by responding to the following questions: What did I learn about teaching? What did I learn about teaching theatre? What worked really well in this classroom? What would a new teacher have to do to fit in or to avoid counterproductive practices? 28 Suggested Readings in Creative Drama Adair, Peter. Stories Everywhere . San Francisco: Adair Films, 1982. Media LB 1042 S785 Airs, John, and Chris Ball. Taking Time to Act: A Guide to Cross-Curricular Drama . Portsmouth, NH: Heinemann, 1995. Aronson, Shari. La Carpa: A Descriptive Model for Teaching History Through Drama in Education . Unpublished Masters Thesis. Tucson, AZ: The University of Arizona, 1995. Barfield, Gabriel. Creative Drama in Schools . New York: Hart, 1968. Barton, Bob, and David Booth. Stories in the Classroom: Storytelling, Reading Aloud, and Role Playing with Children . Portsmouth, NH: Heinemann, 1990. Bauer, Caroline. Storytelling with Caroline Feller Bauer . Wilson Video Resource Collection. Bronx, NY: H.W. Wilson, 1986. . Blatt, Gloria. Once Upon a Folktale: Capturing the Folklore Process with Children . New York: Teachers College Press, 1993. Bolton, Gavin. Drama as Education: An Argument for Placing Drama as the Centre of the Curriculum . Burnt Mill, Harlowe, Essex: Longman, 1984. Bolton, Gavin. New Perspectives on Classroom Drama . Hemel Hemptead, Hunts: Simon & Schuster Ed.m 1992. --------. Towards a Theory of Drama in Education . London: Longman, 1979. PN 3171 B59 Brady, Martha, and Patsy Gleason. Arts Starts: Drama, Music, Movement, Puppetry, Storytelling Activity . Englewood, CO: Teachers Ideas Press, 1994. Bray, Errol. Playbuilding: A Guide for Group Creation of Plays . Portsmouth, NH: Heinemann, 1995. Briggs, Nancy. Children 9s Literature through Storytelling and Drama . 2 nd . Ed. Dubuque, IA: W.C. Brown, 1979. Chambers, Dewey. Storytelling and Creative Drama . Dubuque, IA: W.C. Brown, 1970. --------. The Oral Tradition: Storytelling in Creative Drama . Dubuque, IA: W.C. Brown, 1977. Cottrell, June. Creative Drama in the Classroom: Grades 4-6 . Chicago: National Textbook Co., 1986. --------. Teaching with Creative Dramatics . Skokie, IL: National Textbook Co., 1975. Courtney, Richard. Dictionary of Developmental Drama: The Use of Terminology in Educational Drama, Creative Dramatics, Children 9s Theatre, Drama Therapy, and Related Areas . Springfield, IL: C.C. Thomas, 1987. --------. Play, Drama, and Thought: The Intellectual Background to Dramatic Education . London: Cassell, 1968. Day, Christopher, and John Norman. Issues in Educational Drama . New York: Falmer Press, 1983. Doyle, Clar. Raising Curtains on Education: Drama as a Site for Critical Pedagogy . Westport, CT: Burgin and Garvey, 1993. Furman, Lou. Creative Drama Handbook . Denver: Pioneer Drama Service, 1982. Goodridge, Janet. Creative Drama & Improvised Movement for Children . Boston: Plays, Inc., 1971. Gray, Farnum. Liberating Education: Psychological Learning Through Improvisational Drama . Berkeley, CA: McCutchen, 1973. Heathcote, Dorothy, and Gavin Bolton. Drama for Learning: Dorothy Heathcote 9s Mantle of the Expert Approach to Education . Portsmouth, NH: Heinemann, 1995. 29 Heinig, Ruth. Creative Drama for the Classroom Teacher . 3 rd . ed. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1988. --------. Creative Drama Resource Book for Grades 4 through 6 . Englewood Cliffs, NJ: Prentice-Hall, Inc., 1987. --------. Creative Drama Resource Book for Kindergarten through Grade 3 . Englewood Cliffs, NJ: Prentice-Hall, Inc., 1987. --------. Improvisation with Favorite Tales: Integrating Drama into the Reading/Writing Classroom . Portsmouth, NH: Heinemann, 1992. Hornbrook, David. Education in Drama: Casting the Drama Curriculum . New York: Falmer Press, 1991. Information and Research Utilization Center in Physical Education and Recreation for the Handicapped . Washington DC: American Alliance for Health, P.E. and Recreation, 1977. Jackson, Tony. Learning through Theatre: Essays and Casebooks on Theatre in Education . Manchester, England: Manchester University Press, 1980. --------. Learning through Theatre: New Perspectives on Theatre in Education . New York: Routledge, 1993. Johnson, Liz, and Cecily O 9Neill. Dorothy Heathcote: Collected Writing on Education and Drama . London: Hutchinson, 1984. Kase-Polisini, Judith. The Creative Drama Book: Three Approaches . New Orleans: Anchorage Press, 1989. Kelner, Lenore Blank. The Creative Classroom: A Guide for Using Creative Drama in the Classroom PreK-6 . Portsmouth, NH: Heinemann, 1993. King, Nancy. Storymaking and Drama: An Approach to Teaching and Language and Literature . Portsmouth, NH: Heinemann, 1993. Koste, V. Glasgow. Dramatic Play in Childhood: Rehearsal for Life . Portsmouth, NH: Heinemann, 1995. Lysman, Doug. Storytelling Games: Creative Activities for Language, Communication, and Composition Across the Curriculum . Phoenix: Oryx Press, 1995. McCaslin, Nellie. Creative Drama in the Intermediate Grades: Handbook for Teachers . New York: Longman, 1987. --------. Creative Drama in the Primary Grades: A Handbook for Teachers . New York: Longman, 1987. Miller, Matthew James. Reading, Response, and Realization: The Relationship between Drama in Education and Literacy to Learning in the Elementary Classroom . Unpublished Masters Thesis. Tucson, AZ: The University of Arizona, 1995. National Association for the Teaching of Drama Conference. Drama in Education: A Curriculum for Change . Banbury, Oxon: Kemble Press, 1982. Neelands, Jonothan. Making Sense of Drama . London: Heinemann, 1984. Neelands, Jonothan, & Tony Goode. Structuring Drama Work: A Handbook of Available Forms in Theatre and Drama . Cambridge: Cambridge University Press, 1990. O 9Callahan, Jay. A Master Class in Storytelling . West Tisbury, MA: Vineyard Video, 1983. O 9Neill, Cecily, and Alan Lambert. Drama Structures: A Practical Handbook for Teachers . London: Hutchinson, 1988. O 9Neill, Cecily, and Alan Lambert, Rosemary Lindnell, and Janet Warr-Wood. Drama Guidelines . Portsmouth, NH: Heinemann. 30 O 9Neill, Cecily. Drama Worlds: A Framework for Process Drama . Portsmouth, NH: Heinemann, 1995. Painter, William. Musical Story Hours: Using Music with Storytelling and Puppetry . Hambden, CT: Library Professional Publishers, 1989. Rosen, Betty. And None of it was Nonsense: The Power of Storytelling in School . London: MGP, 1988. Riverside Drama Conference. Exploring Theatre and Education . London: Heinemann, 1980. Rosenberg, Helene S. Creative Drama and Imagination: Transforming Ideas into Action . New York: Holt, Rinehart & Winston, 1987. Rubright, Lynn. Beyond the Beanstalk: Interdisciplinary Learning Through Storytelling . Portsmouth, NH: Heinemann. Saldana, Johnny. Drama of Color: Improvisation with Multiethnic Folklore . Portsmouth, NH: Heinemann, 1995. Salisbury, Barbara. Theatre Arts in the Elementary Classroom: Grades Kindergarten through Three . New Orleans: Anchorage Press, 1986. --------. Theatre Arts in the Elementary Classroom: Grades Four through Six . New Orleans: Anchorage Press, 1986. Schwartz, Dorothy, and Dorothy Aldrich, eds. Give Them Roots and Wings! 2 nd ed. New Orleans: Anchorage Press, Inc., 1985. Siks, Geraldine Brain. Drama with Children . New York: Harper & Row, 1983. Spolin, Viola. Improvisation for the Theatre . Evanston, IL: Northwestern University Press, 1986. --------. Theatre Games for the Classroom: A Teacher 9s Handbook . Evanston, IL: Northwestern University Press, 1986. --------. Theatre Games for Rehearsal: A Director 9s Handbook . Evanston, IL: Northwestern University Press, 1985. Stewig, John Warren. Informal Drama in Elementary Language Arts Program . New York: Teacher 9s College Press, 1983. Taylor, Loren. Storytelling and Dramatization . Minneapolis: Burgess Publishing Co., 1965. Turner, Scott. The Creative Process: A Computer Model of Storytelling and Creativity . Hillsdale, NJ: Earlbaum, 1994. Van Schuyver, Jan. Storytelling Made Easy with Puppets . Phoenix: Oryx Press, 1993. Verriour, Patrick. In Role: Teaching and Learning Dramatically . Portsmouth, NH: Heinemann, 1995. Wagner, Joseph. Children 9s Literacy Through Storytelling . Dubuque, IA: W.C. Books, 1970. Walker, Pam. Bring in the Arts: Lessons in Dramatics, Art, and Short Writing for Elementary and Middle School Classrooms . Portsmouth, NH: Heinemann. Ward, Winifred. Stories to Dramatize . New Orleans: Anchorage Press, 1986. Watkins, Brian. Drama and Education . London: Balsford Academic & Education Ltd., 1981. 31 cA Few [More] of My Favorites d Reading List Pedagogy Michael Fleming. Teaching Drama in Primary and Secondary Schools: An Integrated Approach. Michael Fleming. Starting Drama Teaching. Jonathan Neelands and T. Goode. Structuring Drama Work. 2 nd ed. Jonathan Neelands. Making Sense of Drama. Cecily O 9Neill. Drama Worlds. Michael Rohd. The Hope Is Vital Handbook. Pamela Bowell and Brian S. Heap. Planning Process Drama. Storytelling Bettleheim, B. (1977). The Uses of Enchantment. New York: Vintage Books. Collins, Rives. (1997). cStorytelling: Water from Another Time. d Drama Theatre Teacher (now the Stage of the Art ) 5.2: 6. Collins, Rives, and Cooper, Pamela J. (1997). The Power of Story: Teaching Through Storytelling. 2 nd ed. Scottsdale, AZ: Gorsuch Scarisbrick. Heinig, Ruth. (1993). Creative Drama for the Classroom Teacher. Englewood Cliffs, NJ: Prentice Hall. Norris, Joe, McCammon, Laura, and Miller, Carole S., eds. (1999). Learning to Teach Drama: A Case Narrative Approach. Portsmouth, NH: Heinemann. Interarts Teaching Cornett, Claudia E. The Arts as Meaning Makers . 32 Project: Personal Response to a Theatre Production (Extra-Credit) A personal response to a theatrical production offers the reader an overall assessment of the performance experience from the insightful perspective of a seasoned theatre-goer. Additionally, it describes important details of the production, such as acting, direction, and staging, and how these factors contribute to the production 9s total impact. Structuring the Personal Response First Paragraph: Include answers to the following W 9s: Who: (the playwright and/or director) What? (the play) Where? (sponsoring organization) Why? (general assessment of the play 9s purpose and/or worth) Second Paragraph: Briefly touch on the major theme(s) of the play. Also, address the following questions: What is the performance text cabout d? What are the issues at stake? What does this performance do for me? Does it tell me something about being a human being, about people 9s motivations, behavior, fears, desires, relationships? What does this performance do for the community ? Does it enable me to recognize social injustice or political corruption, or to encourage me to think about how to think about such problems? What does this performance do for the theatre? Does the performance provide playwrights, directors, or actors with new ways to stage or enact the drama? What does this performance do simply as entertainment? Does the experience satisfy those in the audience basically looking for diversion? Succeeding Paragraphs: Briefly discuss the acting and any technical aspects of the production, especially as they reinforce or further production 9s effectiveness. You may want to comment on the stage direction. Final Paragraph: State or restate your general opinion. Address the questions: How would a group of public school students react to the production? What themes or issues would you highlight in a post-production discussion? Formatting Specifications Typed, double-spaced, 12-point font (Times New Roman) 2-3 pages in length Cover page with full name and SS#, centered First line of paper begins at 1-inch from top of the sheet. Margins: left, right, top, & bottom 3 1 inch

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