Drama lesson plan


Published on

Tiddilak Drama lesson - comparing the wet and dry season.

Published in: Education
  • Be the first to comment

No Downloads
Total views
On SlideShare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Drama lesson plan

  1. 1. Lesson Plan FormatClass: Year 4 Date: 16th April 2010 Time: Start: 9.15amStage : 2 Finish: 10.00am Lesson Topic: Mime, Readers Theater. Making and Performing.Key Learning Area: Creative Arts, DRAMA!Integrated Key Learning Areas. Although mime, is without speech (non verbal vocalization), it will ironically be used as an avenue to boost the (S)’s evolving characters in the (S)’s final Readers Theater performance byHSIE enhancing their vocal expression. The dramatic form mime will consequently, enhance the (S)’sCUS 2.3, Cultural Identities.ENS2.6, Environments. movement and gestures, along with their comprehension of their assigned characters and theSSS2.7, Relationships with places, Resource Systems. story itself. The ultimate goal is to develop a more dynamic vocal expression and appropriate facial & gesture articulation; irrevocably creating a more cultured and theatrical performance ofSCIENCE the play of Tiddilak the Enormous Frog.LT S2.3, Identifies and describes the structure and functionof living things and ways in which living things interact with The theatrical forms are interrelated, as improvisation and movement are incorporated in a priorother living things and their Environment. lesson. For this particular lesson Mime is the focus, with a second read through of a Readers Theater script at the end, time permitting! Mime will precede and be the main focus, but willENGLISH (Reading, Talking & Listening) assist the children’s characterizations in the Theatres Readers performance of Tiddilak theRS2.5 identifies elements such as main characters, setting Enormous Frog (the Aboriginal Dreamtime story). Emphasis on expression, comprehension andand events in a variety of literary texts, shows empathy with characterization are imperative for a successful performance.characters in stories.RS 2.7, RS 2.8, TS2.2, adjusts speech to suit familiar The exercise is reminiscent of a refining process, as in dance, where it will be enriching (S)situations. TS2.3, usually selects a suitable spoken text for knowledge of the animals and their environment and consequently a superior, and morethe purpose and audience. enhanced finale. Although we will not be using speech initially, after the mime activity, the (S) perceptions and new empathies of the characters will be evident in their vocal expression andPDHPE (Communicating) thus the rehearsal of the script will be transformed.COS2.1 Uses a variety of ways to communicate with andwithin groups. This very practical training technique of Mime, aids in a more sophisticated performance of theDMS2.2, Decision making script, the (S) understand the characters, their role and situation to name one of the manyINS2.3, Interacting makes positive contributions in group elements of drama. Seeing as 90% of children learn through what they do (Russell-Bowie, D,activities. 2002). This will assist in their learning and fast track their progression to becoming a moreMOS2.4, Moving, Displays a focus on quality of movement improved, sophisticated and confident performer!in applying movement skills to a variety of familiar and newsituations. As it is recommended in the syllabus all teachers from Early Stage 1 to Stage 3 should experience the work of Aboriginal and Torres Strait Islander peoples (K-6 Syllabus, CreativeDANCE and MUSIC Arts, 2007). This is why I chose this one, as it is also thematic, incorporating a myriad of crossDAS2.2, Explores, selects and combines movement using curriculum Key learning areas. Very useful indeed!the elements of dance to communicateideas, feelings or moods. MUES1.1Carolyn Cavell – Drama Assessment Page 1
  2. 2. Recent Prior ExperienceThe previous lesson (T) would have read the colourful storybook of Tiddilak the Enormous frog. The dramatic technique focused in this prior class would havebeen on interaction through improvisation, thereby continuing the progression of (S) characterizations in this script (which will have been read at least oncethrough the prior lesson).The prior lesson the (T) will have shown the attached informative PowerPoint presentation of Aboriginal dreamtime and the various animals, so children havean understanding of the cultural values of the Aboriginals, their land, customs and the importance of the animals. The animal information slides providing aprompt to inform (S)’s what sort of habitat their native animals occupy, what and how they eat, how they move and travel, and what prominent features thesecreatures may possess, which will assist (S) in the visualization when creating their mime work for this lesson. This presentation works two fold for theaforementioned knowledge, as it will be integrating HSIE, CUS 2.3, Cultural Identities, ENS2.6, Environments and SSS2.7, Relationships with places andResource Systems and Science LT S2.3. This stimulus will assist in the (S)’s mimes; deepening and sustaining their character development. Thispresentation would be up in the room for this lesson also to remind the children of their roles and characters. It can be referred to and is still a stimulus for thislesson.Syllabus Outcome(s): Indicators: Assessment:DRAS 2.1 (Making) DRAS2.1 (Making)] (T)’s assessment will be throughTakes on and sustains roles in a variety Takes on and sustains roles in a variety of drama forms to express observation of (S) miming andof drama forms to express meaning in a meaning in a wide range of imagined situations. performing Readers Theatre.wide range of imagined situations.  Sustains and builds belief in their roles. (T) Will analyze space: including  Takes on both individual and group roles. personal space, all purpose space, are  Makes decisions about role interactions, symbolic representations their characters resembling theirDRAS 2.3 (Performing) and the dramatic context at various stages of preparing for the shape, how are the using the space or drama and during breaks in the action of the drama. manipulating it? Do the (S)’s divulgeSequences the action of the drama to  Interprets a wide range of imagined situations through the use of a beginning, middle and an end to theircreate meaning for an audience. various drama forms, e.g.: improvisation, movement, mime, movements? What is their movement storytelling, puppetry, mask and play building. like, reflective of that animal? Is there a story or an emotion they are DRAS 2.3 (Performing) conveying? How well are they able to sustain (T) belief in role and how does Sequences the action of the drama to create meaning for an the dramatic tension build? audience. (T) will analyze (S)’s process of  Demonstrates confidence in gesture, movement and voice skills. working together and individually. Are  Demonstrates how characters interact with each other. (S)’s extending or blocking? Are (S)’s  Select props, costumes, artefacts, sound effects and movement still working collaboratively, or sequences to help define role, place and situation to add to the individually? Are they telling a story? meaning of the drama. How convincing are they? How  Make decisions with others in various groupings about sequencing effectively do they sustain roles whileCarolyn Cavell – Drama Assessment Page 2
  3. 3. and dramatic structure to convey meaning interacting with others?Safety Issues to consider: Resources required for this lesson: o Organize teaching space accordingly and 1. Script for Readers Theater, Tiddilak the Enormous Frog: sourced from Dominies bookshop clear room of chairs & any obvious danger. Brookvale, as referenced below. o Remind them of Safe body techniques (no 2. Colour code and highlight parts for the (S), preparation before start of class, number of scripts socks as they are slippery). according to class numbers. o Explain their peripheral vision; keep it o Swasbrook, Elizabeth. (2000) Aboriginal Legend Plays: Introducing Aboriginal Culture switched on throughout the warm up. through Drama. Western Australia: Prim-Ed Publishing. o Recap on the safety of their back and o Head dress of animals from previous lesson, also sourced from (Swasbrook, 2000) and neck, keeping in mind children with attached to this assignment. disabilities. o Scripts, the (S) scripts will be photocopied according to number of (S) in class. o Mention that this is a nurturing and safe environment we all must feel comfortable o (T)’s script will be colour coded to match (S), so (T) identifies who is next to read. in for our creative abilities to flow. o PowerPoint slides of Aboriginal dreamtime and pictures of animals and their habitat. A o Spatial awareness noted by (T) and warm stimulus to get their creative juices flowing (also attached) ups begin in the lesson below. o VIDEO - http://www.youtube.com/watch?v=VpZ29kUCQWM. Retrieved 13/04/2011. 7 Feb 2009 ... A story about thirsty Tiddalik! o Music – rhythm sticks for the children in the performance of the Old people. o Safe, open arena style classroom set up for a protective and secure environment to (S) to partake in. There must be sufficient space for pupil interaction.Carolyn Cavell – Drama Assessment Page 3
  4. 4. LESSON SEQUENCEINTRODUCTION Timing (10) (T) Reiterating safety techniques expressed under this o http://improvencyclopedia.org/games/index.ht heading in this lesson to (S). (S)’s made aware of their ml (ACE) for Icebreaker. classmates and the space they occupy.. o http://www.pearsonpublishing.co.uk/educatio (T) Begins physical warm up session through a fun and n/samples/S_491580.pdf (warm up) silly game called Killer. o http://www.aboriginalspirituality.net/aboriginal Icebreaker - Killer _culture.html. This could be used as an Icebreaker and a mental warm Powerpoint slide resources. up as concentration is required. The game structure is based on discovery and deduction, focusing on body o Source: Our Land, Our People, NSW language to pick the killer. A lovely introduction to our Aboriginal Land Council, 1991. Board of mime exercise. studies. p 16 Killer – the pupils sit in a circle, A detective sits in the o http://www.aboriginalartonline.com/culture/rai middle. The teacher chooses the killer by touching one of nbow.php, Land and cultures retrieved the pupils on the back while everyone else keeps their 13/04/2011. Rainbow serpent picture. eyes closed. It is the killers’ job to wink at people in order to kill them without being noticed by the detective. When o http://www.pbase.com/sheila/aboriginality_of killed, people fold their arm. The focus here for discussion _sydney_australia (aboriginal boy). can be the way in which the group becomes skilled at confusing the detective – seeking to get themselves killed, o http://animals.nationalgeographic.com/fish/el waiting for a while before announcing that they have been ectric-eel/. killed. It’s just as much body language as it is winking in trying to spot them. http://www.dreamtime.auz.net/default.asp?P ageID=46 (aboriginal painting of Tiddilak the If children start misbehaving, a management strategy frog). Dreamtime Kullilla Art. could be to pretend we are part of a real drama company or on set. The (T) could yell “Cut”, like in the movies. And o http--www.lindakreft.com-pdf-dreamtime.pdf. “Action” to start the game or the following exercise again. Retrieved from Peace, Pride, Activists, Social Peace (2011).Carolyn Cavell – Drama Assessment Page 4
  5. 5. (T) Begins vocal warm up below. (S)’s stand in two parallel lines, each facing a partner about two feet apart. At a signal from you they start a conversation. At the next signal they each take a step backwards and continue to talk to each other. This continues until they are at either side of the room shouting at each other. It is an effective, if noisy, way to make the children understand the high vocal level necessary for speaking on stage, as well as being a fun warm-up exercise.DEVELOPMENT (15) (T) Recalls exquisite improvisations of preceding lesson and mentions’ only gestures and movements (no sounds) are our vehicles for dramatic tension for this exercise. (T) Negotiates that this MIME will entail the (S) taking on roles of the environment eg; the rivers, the river bed, the trees, the sun, aboriginal elders, some native animals. (S) sit in a circle and put their hand in (T)’s container and a strip of paper will have the words tornado, tree or a part of the environment. (T) advises (S) to lie down on the floor to begin in a calm, starting position and when the rhythm sticks are tapped by (T), they can commence their miming.  First setting - the dry season. (T) Uses appropriate language register for this level to assist in development of their mimes, such as; hot, limp, lifeless to encourage miming refinement.  Second setting - the wet season. See who, how & when the wind and the water changes. Crazier movement, wild weather, faster and more rhythmic movements and expressions. See the transition between the dry to wet season with the animals and the environment.Carolyn Cavell – Drama Assessment Page 5
  6. 6. (10) Through this miming activity, children are using their imaginations and creativity, their body shapes, gestures and expressions representing the environment & native animals in this milieu. They are contrasting the different seasons whilst working collaboratively. They have created dramatic tension and contrast through the symbolic menacing winds & heavy rainfall of the wet season, the scorching, sweltering heat of the dry season. The tempo and pace of the winds and the sand blowing furiously amid wild animals; a whole gamut of drama elements inclusive in this exercise. (T) Negotiates the (S) with the rhythm sticks. Perhaps children with disabilities or limitations or those who are interested. (T) hands out highlighted scripts to (S). (T) hands out animal head dress (only prop for the performance) (T) has chosen this story as the language skills would suit most children and the interest of the story. The script is attached. (T) points out the structure of the narrative, beginning (Tiddilak drinking all the rivers dry), points out the struggle in the story (as all the creatures trying to make the Frog laugh, in order for their survival) and the resolution, the eel succeeds in restoring the water supply. (T) points out that the rhythm stick music players can beat faster as well as stamp their feet in response to danger, fear of death, doom. (S) read through with a more astute understanding of nature, their characterizations and are able to read with improved vocal expression and facial and gestures taboot!Carolyn Cavell – Drama Assessment Page 6
  7. 7. CLOSURE Cool down – The time when children shift back to the real (10) world. (T) Uses relaxation and breathing exercises to calm children. (T) to finish with the video Tiddalik The enormous frog. Have figured out I probably won’t have time. But it’s better to be conscientious than under prepared! More polished characterizations in the Readers Theatre script is the consequence of the miming exercise! Goal achieved and evident through second reading of script!Carolyn Cavell – Drama Assessment Page 7
  8. 8. ReferencesFleming, Michael. (1996). Starting Drama Teaching. London: David Fulton Publishers. P 74Gorman, Alfred H. (1971). Teachers and Learners; the interactive process of education. Boston: Allyn & Bacon. p 14Heinig, Ruth Beall. (1993) Creative Drama for the classroom teacher: Drama in education. (4th ed). London: A Pearson Education Publishing Company.p9NSW Board of Studies (2001). Creative Arts K-6 Syllabus. Board of Studies: Sydney. p 5, 19NSW Board of Studies (2001). Creative Arts K-6 Units of Work. Board of Studies: Sydney. p 38Russell-Bowie, D. (2006). MMADD about the arts! An introduction to Primary Arts Education. Sydney: Pearson Education Australia.Creative Arts Classroom resources NSW Public Schools: http://www.schools.nsw.edu.au/learning/k_6/arts/clresources.phpSwasbrook, Elizabeth: (2000). Aboriginal Legend Plays: Introducing Aboriginal Culture through Drama. Western Australia: Prim-Ed Publishing. P 6-10Garrett, Tracy D, OÇonnor, Dava (2010), Readers Theater: “Hold on, Let’s Read it Again.”. Teaching Exceptional Children: Article, Lander University43(1), p 6-13. (Check this reference).http://improvencyclopedia.org/games/index.html. Retrieved 16/04/2011. (ACE)Carolyn Cavell – Drama Assessment Page 8