Learning through Faith and Vision
ARTs Years 3 & 4 TERM
Subject
Unit Title:
Achievement
Standard
DANCE
DRAMA
MEDIA
MUSIC
VISUAL ARTS
Fables
By the end of this unit, students use relationships, tension, time and place and narrative structure when improvising and performing
devised and scripted drama. They collaborate to plan, make and perform drama that communicates ideas.
Content Descriptions
4.1 - Explore ideas and narrative structures through roles and situations
and use empathy in their own improvisations and devised drama
Elaborations
● exploring and experiencing a range of roles and situations that they
initiate and develop
● making improvisations that explore issues and ideas using empathy
● using elements of drama and the principles of stories to shape
improvisations to communicate their intentions as drama makers,
for example, establishing time and place and the roles and
characters in the drama
● experimenting with tension, and creating dramatic meaning to
sustain improvisations and process dramas
● Considering viewpoints – forms and elements: For example – How did
the drama begin? Develop? Conclude? How did the performers vary
their voices, movement and gestures to create and share believable
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characters? How are elements of drama such as role, situation, time
and place part of the action? How is the dramatic tension developed
in the drama?
4.2 - Use voice, body, movement and language to sustain role and
relationships and create dramatic action with a sense of time and place
●
●
●
●
●
4.3 - Shape and perform dramatic action using narrative structures and
tension in devised and scripted drama, including exploration of Aboriginal
●
●
and Torres Strait Islander drama
●
●
●
●
experimenting with the loudness/softness, pace and pitch of their
voices to create roles and situations, time and place
varying their facial expressions and movements to create roles and
situations
exploring roles and situations by trialling the use of language, such
as choice of words, expressions and tone
developing sensory and spatial awareness when creating dramatic
action
experimenting with body language and gesture from different
cultures and times
applying story structures in their drama, including roles and events
linked through cause and effect and dramatic tension
Considering viewpoints – meanings and interpretations: For
example – What are the stories and the ideas in the drama you
watch and listen to? Which of the characters do you identify with?
What relationships and situations do you recognise (or not
recognise) in the drama you watch and listen to?
performing their improvised sections of process drama and play
building
sharing with others dramatic action that is structured through
dramatic tension, in real or virtual spaces
performing short scripted drama with a sense of role, situation and
dramatic tension
Considering viewpoints – evaluations: For example – How well did
you collaborate to make drama? What worked best in the drama?
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●
●
●
4.4 - Identify intended purposes and meaning of drama, starting with
Australian drama, including drama of Aboriginal and Torres Strait Islander
Peoples, using the elements of drama to make comparisons
●
●
●
●
●
●
planning and rehearsing their drama for a live or virtual
performance
exploring Aboriginal and Torres Strait Islander stories and how they
are dramatically portrayed as a reference for shaping their own
drama
exploring dramatic traditions and practices from one or more Asian
societies in their drama
identifying meaning and describing purposes in drama from
different social, cultural or historical contexts
Considering viewpoints – societies and cultures: For example – What
features and ideas in the drama come from other cultures, times and
places? How have you used these ideas and features in your own
drama? Why do you think people from all different cultures make and
respond to drama?
comparing the expectations and requirements of performers and
audience in different cultural settings and applying learning in their
own performances
examining drama in their community and comparing it to other
drama of different people, times and cultures
Considering viewpoints – meanings and interpretations: For
example – What are the stories and the ideas in the drama you
watch and listen to? Which of the characters do you identify with?
What relationships and situations do you recognise (or not
recognise) in the drama you watch and listen to?
writing about and discussing with others the meaning and intended
purposes of their own drama using drama terminology
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Learning Framework
Cross Curricular
Priorities
General Capabilities
Links to other LA’s
Community Contributor
Leader and Collaborator
Catholic Ethos
Aboriginal and Torres Strait Islander
Histories and Cultures
Literacy
Critical and Creative Thinking
English, Health and Physical Education
Active Investigator
Effective Communicator
Social Emotional Learning
Asia and Australia’s Engagement with
Asia
Numeracy
Ethical Behaviour
Designer and Creator
Quality Producer
Inclusive Education
Sustainability Education
Information and Communication
Technology
Personal and Social Competence
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Learning and Teaching Experiences and Strategies
WK Content
11
4.1
4.2
Learning and Teaching
Resources
Assessment
Before the Lesson: Familiarise yourself with the terms used in Drama.
For example:
FOCUS - The frame that directs attention to what is most significant and intensifies the
dramatic meaning.
TENSION - The force that engages the performers and audience in the dramatic action.
For more help with understanding these terms and activities associated with each element
use the link provided on the right.
The elements of drama:
http://www.curriculumsuppo Formative rt.education.nsw.gov.au/seco observations
ndary/creativearts/assets/dra
ma/pdf/dramaelements.pdf Personal Reflections
Warm Up: A-Litter-ation
Ask your class to sit in a circle. Tell students to imagine they have been picking up litter
around the school, and that each student has returned with a piece of litter which uses the
same letter as their given name. Have students take turns to state their name and the piece
of litter they have collected e.g. ‘I’m Robby and I picked up a rotten apple.’ Extension:
Instead of litter use adjectives, colours, food, sports, countries or animals.
© Blake Education—Fun and
Easy Drama Activities: Drama
Warm-Ups
http://monkeybaa.com.au/w
pcontent/uploads/2013/02/W
arm-up-Activities.pdf
Activity:
1. Read the fable “The Fox and the Goat” by Aesop. Try not to focus on voice projection Aesop’s Fables Interactive
and tone. Have students identify what they liked about how you read the story and book http://read.gov/aesop/001.ht
what could have been done better. Inform students that in drama, the way we
project our voices is very important. Reread the story, this time using as much vocal ml
projection and tone as possible. Ask students which version of the story they liked
better and why. Stories are more captivating to an audience when read the second
way.
2. Teach students how to use stage voices. Show students the following you-tube clip
Boom Chicka Boom - The
Learning Station:
Learning through Faith and Vision
(Boom Chicka Boom - The Learning Station:
http://www.youtube.com/wa
http://www.youtube.com/watch?v=F2XVfTzel8E) or alternatively, the teacher can tch?v=F2XVfTzel8E
facilitate. Students repeat a line in the same way as the teacher has called out each
line (call and response). The lines are as follows:
●
●
●
●
●
●
“I said a Boom”
“I said a Boom Chicka Boom”
“I said a Boom Chicka Rocka Chicka Rocka Chika Boom”
“Uh huh”
“Oh yeah”
“One more time”
3. Allow students to be the facilitator and choose the call out tone, while others
respond.
In groups of 3-4, give each child a simple phrase eg “Anthony, come here” or “Open
the door.” Each student has to say their line in a different tone of voice to convey
different meanings
2
4.1
4.2
Warm Up: Life Saving
Children pretend to be a team of doctors, firemen, paramedics etc. fighting to save a life.
Activity:
1.
Read the Aesop’s fable “The fox and the stork”
2.
Ask students how they would portray the fox and stork using their own bodies.
3.
Discuss that in drama, it is important to use your body to communicate the
© Blake Education—Fun and Formative Easy Drama Activities: Drama observations
Warm-Ups
http://monkeybaa.com.au/w Personal Reflections
pcontent/uploads/2013/02/W
arm-up-Activities.pdf
characters feelings and attitudes about something. An audience or viewer can watch
BBC - Body Language
example:
For example, a student being told off by a teacher in a drama can easily tell the audience that http://www.bbc.co.uk/school
it to pick up on someone's age, emotions, status, or health.
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she's not feeling sorry for what she's done by:
●
curling her lip
●
showing a bored look in her eyes
●
having her head slightly lowered
●
putting a hand on her hip
●
having her hip stuck out, with her weight on one leg. (show an example by looking up
s/gcsebitesize/drama/respon
ding/bodylanguagerev1.shtm
l
Aesop’s Fables:
http://read.gov/aesop/001.ht
ml
images of body language)
4.
5.
3
4.1
4.2
In pairs students are to retell the story of “the Fox and the Stork” by using three still
images, made using their bodies, to create a beginning, middle and end to the story.
Share with the class.
Students reflect on who used their bodies the best to portray the different animals
and why.
Warm Up: Ship Ahoy
Formative Drama Toolkit:
http://www.dramatoolkit.co. observations
The teacher first explains that we are about to go on a ship and as crew there are lots of jobs uk/dramaPersonal Reflections
that we need to do. Students start by forming a line (one behind the other) directly in front games/item/energy/shipof the teacher to enter ship. The teacher then shouts a command and the children have to ahoy
perform the activity associated with that command and go to various areas of the ‘ship’.
Commands include:
●
●
●
Captains coming – salute and stand still for inspection
Boom crossing – students duck
Scrub the deck – students all scrub the floor
The Drama Teacher - Drama
Elements:
http://www.thedramateache
r.com/dramaticelements/#sthash.MW08m2X
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●
●
●
●
●
Climb the rigging – all pretend to climb up sail
Port – go left and load the cannons
Starboard – go right and look out
Bow - go to the front and all walk the plank
Stern - go to the back and all pull in the anchor
Activity:
1.
Read the Aesop’s fable “The Fox and the Grapes” focusing on the body and
movement of the fox in the story.
2.
Discuss with student how the use of space (movement) implies clearly
communicating to the audience where the action is taking place.
(http://www.thedramateacher.com/dramatic-elements/#sthash.MW08m2Xd.dpuf)
3.
Ask a volunteer to demonstrate how the fox may have moved during the story
(walking in, jumping and reaching up high, scuttering away).
4.
Discuss the different stage areas in a given performance:
Stage Right: The area of the stage to the actor's right, when facing downstage (i.e. towards
the audience).
Stage Left: The area of the stage to the actor's left, when facing downstage (i.e. when facing
the audience).
Downstage: This is the area of the stage that is closest to the audience.
Upstage: This is the area of the stage that is furthest away from the audience.
Centre Stage: The centre of the playing (performance) area.
Onstage: This is the part of the playing area that is visible to the audience.
Offstage: The area surrounding the playing area which is not visible to the audience (such as
the wings and crossover).
Show students what this looks like
(http://www.bbc.co.uk/education/guides/z26bjxs/revision/3)
5.
Students are to select an animal and think about both its body and movement to
d.dpuf
Aesop’s Fables:
http://read.gov/aesop/001.ht
ml
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share with the class. Some animals move slowly,or in a pattern. Share different
improvisations with the class.
4
4.1
4.2
Warm Up: Button Up
Ask students to sit in a circle. Show students a button (or another prop). Tell students it’s not
really a button; it’s really a dot that’s fallen off an enormous die. Pass the button to a
student. Explain to students that they are meant to think of a different purpose for the prop.
Instruct the first student to say ‘No, it isn’t a dot off an enormous die, it’s really...’, and they
add their own idea, such as ‘a secret agent’s hidden microphone.’ Continue passing the
button around the circle, with each student disclaiming the previous student’s idea and
stating their own.
© Blake Education—Fun and
Easy Drama Activities: Drama
Warm-Ups
http://monkeybaa.com.au/w
pcontent/uploads/2013/02/W
arm-up-Activities.pdf
1 x Button
Activity:
1.
Begin this week by (incorrectly) reading the script ‘The Ant and the Grasshopper’
Play scripts and Songs for
(this means reading parts that are not supposed to be read). Ask students whether Children: http://www.playthe story makes sense and why, in fact, it doesn’t.
script-and-song.com/play2.
Discuss that when reading a script, as opposed to a story, it has parts that are not
scriptsupposed to be read. Bolded words tell you who is speaking and words in brackets fables.html#!fables/c1cwo
can suggest things such as movement or voice elements that the actor/actress needs
to be doing.
Using an A3 version of the script ‘The Ant and the Grasshopper,’ go through the
script and highlight the different parts of the script. Ask volunteers to read a
character role that you have chosen for them.
5
4.1;
4.2;
4.3;
4.4
Warm Up: Whose Turn
© Blake Education—Fun and Summative Assessment
Tell students to stand in a tight circle, shoulders touching. Ask them to look down at the floor Easy Drama Activities: Drama Checklist A
and avoid eye contact. Tell students they are going to count from one to 30 (whatever is the Warm-Ups
number of students in your class). Explain that each student can only call one number, but http://monkeybaa.com.au/w
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that there is no order in which students should call— any student may say the next number. pChoose a student to start and call ‘one’. Continue until the target number is reached and all content/uploads/2013/02/W
students have called a number.
arm-up-Activities.pdf
Activity (Requires Indigenous liaison support):
1.
Introduce the story ‘Rainbow Bird’ by Eric Maddern and discuss the
‘Rainbow Bird’ by Eric
2.
As you read through the story, students examine the characters in the story
Maddern.
focusing on their movements. Ask: What is the story about? Who are the
characters? Who is telling the story? Why?
Puppets - bird, crocodile and
Explore what a Dreaming story is (found on website in resources); relate to stories from
other Australian animals
other cultures. Discuss how Aboriginal people pass on their culture e.g. dance, music, art.
Ask students if they know of any other stories.
Indigenous liaison support
3.
Through discussion, students will have gained an understanding of the purpose and
meaning of the story as it was told by you. In drama, the ‘actors/actresses’ are
required to do just this. Inform the students that they will perform their own
improvisation of the story just read, ensuring that the purpose and meaning of the
story is easily recognised.
4.
Discuss the different strategies in which we can use voice, body and movement to
retell a story through script - through storytelling (using pictures and words),
puppetry, freeze frames (miming) and play.
5.
Demonstrate a short version of each of these strategies using the story: ‘Rainbow
Bird’ by Eric Maddern as a guide.
6.
Using the story ‘Rainbow Bird’ give students time to rotate through the four
different strategies of storytelling (using the book), puppetry, freeze frames
(miming) and play (improvisation).
6
4.1;
4.2
Warm Up: Master Master, Who Am I?
Blindfold a volunteer. A pupil selected by you must
1 x Blindfold
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7
4.1;
4.2
approach them quietly, disguise their voice and ask Master Master, Who Am I? If the
volunteer guesses correctly, they get another go. If they are wrong, the successful “voice”
gets a turn.
Activity:
1.
Hand out different scripts to groups from the website ‘Play scripts and Songs for
Children’: http://www.play-script-and-song.com/play-scriptfables.html#!fables/c1cwo
2.
Allow students time to read through with their group members, select who will be
acting out which part and discussing any terminology they are unsure of.
Students are given the rest of this lesson to practise their scripts and select the
strategy they will use to present to the class. Ensure students at this stage are
focussed on one element aspect (which is likely to be voice).
Drama Warm-ups and Circle
Games:
http://www.primaryresource
s.co.uk/pshe/pdfs/dramawar
mups.pdf
Warm Up: Someone Moved
Have all players sit in a circle and then chose a person to be “it”. The “it” is to leave so that
“it” cannot see or hear. Have one to four players move in the circle. When “it” returns he is
to figure out who has moved in the circle.
Drama Warm-ups and Circle
Games:
http://www.primaryresource
s.co.uk/pshe/pdfs/dramawar
mups.pdf
Activity:
Students are to continue practising their scripts focusing on voice, movement and
body.
8
4.1;
4.2
Warm Up: Hula Hoop
Everyone stands in a circle holding hands. Have two people break hands and put their hands
through a hula hoop and rejoin hands again. The hoop must be passed the whole way
around the circle without breaking hands. Sometimes it goes over and sometimes
under...doesn't matter. It is also fun to time the first try without telling the kids. Tell them at
the end after discussing what helped and what made it difficult. Then try to "beat" the first
Drama Warm-ups and Circle
Games:
http://www.primaryresource
s.co.uk/pshe/pdfs/dramawar
mups.pdf
Summative Assessment
B
and Reflection
(Appendix A)
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"time".
Activity:
1.
Discuss the important role of the audience: keeping still and focused, eyes on the
performance, lips zipped and applauding at the end. Audience will also be required
to complete a reflection on one of the performances they have watched as well as an
individual reflection of their own performance and compare drama elements
(Appendix A).
Students complete their performances in front of the rest of the class who are acting
as an audience.
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Assessment A: Rainbow Bird Improvisation
Student
4.3 - Shape and perform dramatic action using narrative
structures and tension in devised and scripted drama,
including exploration of Aboriginal and Torres Strait Islander
drama
High
Within the
performance, the
student has been
able to show a
beginning, middle
and end to the
story with no
support provided.
Sound
within the
performance, the
student has been
able to show a
beginning, middle
and end to the
story.
4.4 - Identify intended purposes and meaning of drama,
starting with Australian drama, including drama of Aboriginal
and Torres Strait Islander Peoples, using the elements of
drama to make comparisons
Developing
High
Sound
Developing
With support, the
The drama
Some drama
Drama elements
student had
elements (focus,
elements have
have been selected
difficulty in
mood, space, role, been incorporated and incorporated
shaping and
contrast, symbol)
in the performance in some of the
performing the
selected enhance
to dramatise the
performance to
narrative
the meaning of the story. The drama
dramatise the
improvisation so
story and are
elements are
story, though the
that it would
maintained
maintained some
meaning of the
include a
throughout the
of the time.
story is not
beginning, middle whole
established.
and end.
performance*
The elements of drama: http://www.curriculumsupport.education.nsw.gov.au/secondary/creativearts/assets/drama/pdf/dramaelements.pdf
- for more help with understanding these terms and activities associated with each element
Learning through Faith and Vision
Drama Reflection
Student Name:____________________
Who have you been assigned to critique?
What is the fable that the group performed?
What was the moral to the fable? Was it easily identified in the drama performance? Why/Why Not?
What drama elements (voice, body, movement) did the group do well?
How could the performance have been enhanced?
What did you find challenging completing this task?
What did you enjoy?
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Assessment Performance Task
Student Name:
Year Level:
3/4
Name of Task:
Fables
Teacher:
Learning Area/s:
The Arts - Drama
Assessed By:
Classroom Teacher
Date Commenced:
______/______/______
Date Due:
______/______/______
Type of Task:
☐ Performance
☐ Written Reflection
Task Conditions:
☐ In class
☐ Group/Individual
Assessed By:
☐ Teacher
☐ Self
Task Description
Students will present a fable that uses dramatic elements and conventions to express ideas, considering particular audiences and
particular purposes, through dramatic action based on real or imagined events. Students will reflect on others’ performances.
Procedure
To complete this task you must:
1. In groups, identify who will be performing each character in a given fable script.
2. Read and memorise your parts to the provided script.
3. Practise the fable script in your group including dramatic elements, such as facial expressions, hand gestures, body language, timing and voice
projection, required when presenting to an audience.
4. Time permitting – colour and cut a mask that you are able to use as part of your costume for the presentation.
5. Present your fable play to an audience.
6. Reflect on your own and one other groups performance using the reflection sheet provided.
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Criteria
Content Descriptors
4.1 Explore ideas and
narrative structures
through roles and
situations and use
empathy in their own
improvisations and
devised drama role,
situation, time and
place
(Assessment B)
4.2 Use voice, body,
movement and
language to sustain
role and relationships
and create dramatic
action with a sense of
time and place
A
B
C
D
E
Student maintains
qualities of character
and displays and
maintains emotions
that the character
would be feeling
throughout the
performance.
Student maintains
qualities of character age, gender etc. and
displays emotions that
the character may feel
only when they are
speaking.
Student attempts
qualities of character age, gender etc. and
displays emotions that
the character may feel
only when they are
speaking.
With support, student
attempts to take on
the qualities of the
character and display
emotion.
With Support, student
does not attempt to
take on qualities of the
character and is easily
distracted when
directly and indirectly
involved in presenting
(begins slouching,
fidgeting etc.) and
needs to be told when
to speak at all times.
With confidence,
student uses facial
expression, gestures
and a clear, fluent
voice to enhance the
performance.
Student displays
appropriate body
Student uses facial
expression, gestures
and a clear, fluent
voice to enhance the
performance.
Student displays
minimal body
language/actions.
Student speaks clearly
and uses expression
when speaking.
Student displays
minimal body
language/actions.
Student is reading
lines. Student uses a
monotone voice.
Student requires
prompting to display
body
language/actions.
Easily distracted when
indirectly involved in
Student stays in
Student stays in
presenting (begins
Student stays in
character at all times
character some of the slouching, fidgeting
character at all times
(not slouching,
time (not slouching,
etc.)
(not slouching,
fidgeting etc. when not fidgeting etc. when not Student misses cue to
fidgeting etc. when not speaking) and is visibly speaking) and is visibly begin speaking.
speaking) and is fully
waiting for their signal waiting for their signal
aware of their signal to to begin speaking, may to begin speaking, may
begin speaking and
jump in too quickly.
jump in too quickly.
use appropriate timing
during dialogue.
Student is reading
lines or struggling to
remember lines.
Student uses a
monotone voice.
Student is unaware of
their stance even with
prompting.
Learning through Faith and Vision
(Assessment B)
4.4 Identify intended
purposes and meaning
of drama… using the
elements of drama to
make comparisons
(Reflection)
language and actions
to enhance their
interpretation of the
character to the
audience.
Perceptively analyses
and evaluates all given
dramatic elements in
own and others’
improvisations using
detailed examples
drawn from the scenes
to strongly support
their discussion.
Analyses and evaluates
all given dramatic
elements in own and
others’ improvisations,
using examples drawn
from the scene.
Of all the performances, which performance/student stood out? Why?
Satisfactorily analyses
and evaluates use of
some dramatic
elements in own and
others’ improvisations
using some relevant
examples drawn from
the scenes.
Makes cursory analysis
and evaluations of
own and others’
improvisations.
Provides personal
comments only about
own and others’
improvisational skills.
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Planning for Differently Abled Students
Student/s
Different Ability
Australian Curriculum
Content Descriptors
being addressed
Learning and Teaching Strategies
Assessment Strategies