Enumclaw School District Theatre
March/April
Sample Target Learning
Assessment Criteria
Target: Recognizes and uses
actor neutral.
Theatre Focus Lesson 1a:
AEL 1.1 concepts:
body, neutral
AEl 1.1.2 principles
Writing Standards
Theatre Vocabulary
Enduring Understanding
N/A
Arts:
Using exaggerated and
dynamic physical
expression helps actors to
convey emotion, character
attributes, and states of
being in order to tell
stories.
active freeze
body neutral
super expressive body
tableau
of organi:z:ation:
Super Ex ressive
Body
Criteria: Moves and freezes
March/April
Target: Applies projection to
normally.
speaking in an auditorium.
Theatre Focus Lesson 1b:
tableau
AEt lA: applies
audience skills
AEL 1.1 concepts:
vocal center
AEL 1.2 skills and
N(A
Arts:
center
diaphragm
vibration
projection
Projecting sounds from the
body center produces a
loud, clear voice.
WEL 2.1.2
Understands how to
create mental imagery
Arts:
character identification
character attributes
character relationships
action
story structure
feelings
vocal choice
physical choice
statues
tableaux
freeze
actor neutral
Creating a relationship
between characters and
the actions they take
expresses a story.
techniques:
Finding Your Big
Voice
Criteria: Presents a spoken
MarchfApril
Target: Identifies characters
projection
phrase in a loud, clear voice
heard throughout a large
space.
and events.
Theatre Infused Lesson 1c:
Storybook Tableaux
Theatre
Standards
Cr"teria: Names characters
and the actions they take
within specific events.
AEL 1.1 concepts:
main and minor
characters
time and place of
setting
main action in a scene
AEL 1.2 skills and
techniques:
Uses voice to produce
rhythmic language
patterns
Uses simple movements
to imitate character
Recalls and describes
different feelings
WEl 2.2.3 understand
story elements
Characters relate to
characters in a story to
create a whole.
ARTS IMPACT INSTITUTE LESSON PLAN
Core Program Year 1 Arts Foundations
THEATER LESSON - The Super Expressive Body
Artist-Mentor: Dave Quicksall -
Grade Levels: K - Fifth Grade
Examples:
t
t
Enduring Understanding
Using exaggerated and dynamic physical expression (The Super Expressive Body) helps actors to
convey emotion, character attributes, and states of being in order to tell stories.
Target: Recognizes and uses actor neutral.
Criteria: Moves and freezes normally.
Target: Understands and demonstrates an active freeze.
Criteria: Holds an exaggerated, frozen p-osition that represents an emotion, character or
~tate
of being,
Target~
Makes a ~ecific p-hysical choice to convey actions.
Criteria: Uses )2osture and movement choices to communicate a specific emotion, character, or
state of being.
Target: Communicates a non-verbal narrative using the body.
Crt eria: Creates and performs a story using 2Qecific physical choices that communicate
character and action,
Teaching and Learning Strategies
1. Instructs tuden s to walk around the class as themselv s. Prompts: In theater fIve
call mOllement without character added to it as neutral. When you are acting as yourself; you
are neutral.
Student: Walks around the class in a neutral manner.
2. Guides direction [ch nge. Plvmpts: When I clap my l7and'i-you change direction.
Change direction qUickly and sha/ply /lvithout thli,king about it: Change direction eve/]! tline I
clap.
Studellt: Walks in a different direction.
Embedded Assessment: Criteria-·based teachel" checklist-room scan, reverse checklist
3. Introduces the con ept of Fre'eze, Prompts: IllIe wtll walk around the room (not as a
characterr just as ourseilles). I JIj!I!1 shout out "A-eeze/" and you freeze wherever you are. I WI!!
then callout a word and you tum your boo)1 into a statue of that word.
Student: Walks around until teacher says "Freeze!"'1 urns body into statues of the given words.
Embedded Assessment Criteria-·based teacher checklist-room scan, reverse checklist
Arts Impact Core I - Arts Foundations Summer Institute - Theater - The Super E'xplessive Body
4. Calls the first ue. (e.g. banana). Observes group to make sure everyone understands
what they are to do. The exercise continues with other options: policeman, teacher, pirate, rock
star, baby, tiger, astronaut, wizard, monkey, etc. After a few statues, teacher introduces the
concept of exaggeration. Prompts: Focus on your own work instead of looking around to see
what everyone else is doing. Now I want you to exaggerate your statue/ make it ten times
bigger.! Use your Super Expressive Bodies to exaggerate the statue you already have,
Student: Responds to first and subsequent word cues.
THE SUPER EXPRESSIVE BODY
5. Divides class in half for I fA/ish I Had a Pictureexer ise, giving each group several
opportunities to creates frozen tableau of given situations. Leads the audience-half of the class
in a group reflection of what they see. Prompts: Actors tell entire stories with just their bodies.
1J1/e're going to start by interpret/ng one word. When I say J,2/1, Click!, make a committed
exaggerated physical choice and create a frozen picture together of the cue. (e.g. the beach, a
grocery store, a gym, etc). As you create the picture, no talking.! In the theater, when l-'\Ie create
a frozen picture, lIve call it a "tableau. Tableau is French for pali7ting,
Student: Upon hearing \\1 \h/ish I Had a Picture of a (word), makes a physical choice fitting with
If
the group tableau. Participates in audience reflection on what is seen.
Embedded Assessment: Criteria-based peer/group critique
6. Divides class into small group to ten a story non-verbally. Prompts: I am gOing to
assign your group a nursery rhyme. Vour job is to work together to tell the story of the rhyme
without talk. The class will then attempt to guess your nurse!)1 rhyme. Vou have three
minutes-Go! Don't forget, exaggeration is a great tool to use in your storytellli7g.
Student: Works with group to cast and rehearse the non-verbal story, Participates as an
audience member, watching group performances and attempting to identify nurse!)! rhymes,
Embedded Assessment: Criteria-based peer/group critique; teacher checklist
Vocabula
Performing Arts:
active freeze, body,
neutral, Super
Expressive Body,
tableau
f\1aterials and Resources
Performing Arts:
Tacoma, WA
Broadwav Center for the Performing Arts:
Mad
Science: CSI Investigation Show Way on Tou/i Spirit Horse,
Blues Journey, The Phantom Tallbootl), Red Riding Hood
and Other Stories
WA Essential learnin s & Frameworks
A£L 1,1 concepts: body, neutral
AEL 1,1.2 principles oforganization: tableau
AEL 1.4 applies audience ski/Is
Seattle, We,
Seattle Children's Theatre:
Bluenose, The Wizard of Oz, Tomas and the Library Lady,
Pharaoh Serket and the Lost Stone of Fire, A Tale of Two
Cities, Goodnight lv1oon, I Was A Rat!
A/ts Impact Core I - Arts Foundations Summer Institute - Theater - The Super £):pressive 800)/
ARTS IMPACT INSTITUTE LESSON PLAN
THEATER LESSON - The Super Expressive Body
SELF-ASSESSMENT WORKSHEET
Student
I~ame:
Actor Neutral
Moves and freezes
normally
Exaggeration
Holds an exaggel'ated, frozen
position that repl'esents an
emotion, character or state of
being
Character
Uses posture and
movement clloices
to communicate a
specific emotion,
character, or state of
beinG
Narrative
O'eates and performs a
story using specific
physical clloices that
communicate chal';Kter
and action
Criteria-based Reflection Questions:
Self-Reflection:
I-Iov·/ does using exaggeration create a Super Expressive Body?
Peer to Peer: HOiIlI did your peers communicate a character or story part using a Seiper
Expressive Body?
I~ame:
- - - - - - - - - - - - - - - - - - - - - - - - - - -Date: - - - - - - -
Aris Impact Core I - Arts Foundations Summer Institute - Theater - The Super expressille BodV
Total
4
ARTS IMPACT INSTITUTE LESSON PLAN
THEATER LESSON - The Super Expressive Body
ASSESSMENT WORKSHEET
Students
Actor Neutral
l"loves and freezes
nOI'mally
Exaqqel-ation
Holds an exaggerated, frozen
position that represents an
emotion, character or state of
being
Chal-ader
Uses posture and
movement choices
to communicate a
specific emotion,
character, or state of
beinq
Narrative
Creates and pelfonns a
story using specifiC
physical choices that
communicate character
and action
Total
4
1.
2.
.,.).
4.
5.
6.
I.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
2"1.
25.
26.
2/.
28.
Total
Percentaqe
Criteria-based Reflection Questions: cr~ote examples of student reflections.)
Self-Reflection:
How does using exaggeration create a Super Expressive Body?
Peer to Peer': /-low did your peers communicate a character or story palt using a Super
Expressive Body?
Thoughts abou Learning:
/lflhich prompts best communicated concepts? Whicl7 lesson dynamics helped or hindered leaming?
Lesson Logistics:
/llIhicl7 classroom management techniques supported leaming?
Teacher:
Date:
A/is Impact Core I - Al1s Foundations Summer Institute - Theater - The Super Expre5sive Body
_
ARTS IMPACT FAMILY LETTER
THEATER LESSON - The Super Expressive Body
Dear Family:
Today yoU!' child participated in a theater arts lesson. We talked about developing a Super
Expressive ody so that we could tell stories effectively, the way actol's tell stories.
Vlfe used our Super Expressive Bodies to:
.create characters and express emotions or tates of being,
(
'"
(>
••••
€
create frozen snapshots of different environments like the zoo or the beach.
"
•• tell the story of a nursery rhyme without talk. Then the audience tried to guess the nUI'Ser)1
rhyme,
At home you could ask your child to teach you to play "on/off" to show an actor neutral position, and
practice using the Super Expressive Body to become different character's,
Enduring Understanding
Using exaggerated and dynamic physical expression (The Super Expressive Body)
helps actors to convey emotion, character attributes, and states of being in order to tell stories.
A/ts Impact Core J - Arts Foundations Summer instttute - Theater - The Super Expressille Body
ARTS IMPACT INSTITUTE LESSON PLAN
Core Program Year 1 Arts Foundations
THEATER LESSON - Finding Your Big Voice
Authors: Lisa Norman and Dave Ouicksall
~
Example:
Enduring Understanding
Projecting sounds from the body center produces a loud, clear voice.
Target: Identifies and isolates personal body center (the diaphragm).
riteria: Hums vocal vibrations from the diaphragm.
Target: Creates vocal sounds and words without stress or tension.
Crieria: Uses a clear, open sound.
Target: 6QQlies projection to speaking in an auditorium.
Criteria~
Presents ~oken phrase in a loud, clear voice heard throughout a larae sp-ace.
Target: Combines physical and vocal choices in a single exaggerated expression of a word.
Criteria: Creates a simultaneous exaggetOated expression using body and voice.
Teaching and Learning Strategies
1. Leads students into an exploration of vibrations that are created from the center of
the body (the diaphragm) through humming. Instructs students to hum and touch their toes,
Prompts students to unbend thei,o bodies to a standing position, humming all the while. When
students have reached their full height, prompts students to release the sound by simply
opening their mouths and letting it out. Prompts: Relax the body, Dont forget to breathe.
Sustain the sound as though on a long sigh ofrelief. Don t force the sound as you open your
mouth just let it spill out.
Student: Finds center and identifies the diaphragm from the vibrations ill the body caused by
the humming.
Em bedded Assessment: O'iteria-based selfo'reflection
2. Divides students into pairs and !eads t em in the "HEY!" exerciser vv'llich "Frees" tlie
voice from the body. Guides students to decide on who is "A" and wllo is "B", Repeats a.s often
as necessary to achieve criteria. Prompts: Connect to your center: Feel the desl/t3 to
communicate befolt3 using the voice. Dont strain or push the sound. Think oftlie sound coming
from your center and not from )lour throat:
Student: Acts out the follovving scenal"io: "A" is waiting for a bus and sees "B" acmss the street:.
"A" feels an overwhelming desire to call out to "S" and does so by saying "HEY!" with a big
voice. "S" acknowledges "A" and returns the greeting. Repeats as often as necessary to achieve
criteria, Releases the voice and communicates to partnelo with an open diannel and with no
visible signs of tension. Evaluates paltner by watching how s/he says "Hf Y!" and gives critical
feedback.
Embedded Assessment: Criteria-based peer critique
Arts Impad Core I - Ads Foundations Summer InstItute - Theater - Findli7g )/our Big VOIce
5-8
3. A signs p ra es from the phrase sheet that he students will u e to project from
the stage into the audit rium. Prompts: Open the channel to your center. n7ink about
where you are sending the words.
Student: Practices, refines and presents a phrase that is heard throughout the auditorium,
Evaluates classmates as to how well they were heard in the auditorium.
Embedded Assessment: Criteria-based teacher checklist; peer uitique; class critique and
personal and peer reflections
.
,Vocabula'
Performing Arts: center,
diaphragm, vibration,
projection
Materials and Resources
Performing Arts:
Tacoma, WA
Broadway Center for the
Performing Arts: Mad Science: CSl
Investigation, Show Way on Tour, Spirit
Horse, Blues Journey, The Phantom
Tollbooth, Red Rid/i)g Hood and Other
Stories
WA Essential Learnin'
5& Frameworks .' ~ ::'
AEL 1.1 concepts: vocal center
AEL 1.2: skills and techniques: projection
Seattle, WA
Seattle Children's Theatre:
Bluenose, The Wizard of Oz, Tomas and
the Library Lady, Pharaoh Serket and
the Lost Stone of Fire, A Tale of Two
Cities, Goodnight Moon, J Was A Rat!
Classroom Resource: Phrase sheet
Exercise Resource: Kristin Linklater,
Freeing the Natural Voice
Arts Impact Core 1- Arts Foundations Summer Institute - Theater - Fti7ding Vour Big Voice
5-8
PERSONAL ASSESSMENT WORKSHEET
Finding Your Big Voice
Peer Reflection
Partners:
Observed by:
What!
Heard:
Second
First
Third
Last
HEY!
------eJ.-----Cut Here-------·------------------------------------------------------------------------------------.-----------------------
PERSONAL ASSESSMENT WORKSHEET
Finding Your Big Voice
Peer Reflection
Observed by:
Partners~
What!
Heard~
HEYl
I
First
Second
Third
Last
------J'r- - ---Cut Here---- ---- ----------.- ------------.-----------..----- ------....-.--------------------------------..-- ----------------------
PERSONAL ASSESSMENT WORKSHEET
Finding Your Big Voice
Peer Reflection
Partners:
What I
11eard:
Observed by:
First
Second
Third
Last
HEY!
Arts Impact Core 1 - Arts Foundations Summer Institute - n7eater - Anding Your Big Voice
5-8
ARTS IMPACT INSTITUTE LESSON PLAN
THEATER LESSON - Finding Your Big Voice
ASSESSMENT WORKSHEET
Students
Personal Body Center
Hums vocal vibrations from the
body center
Vocalization and Projection
Uses a clear, open sound
Presents a spoken phrase in a loud, clear voice
without stress or tension
heard throughout the auditorium
Total
3
1.
2,
3.
4,
5,
6,
I.
8,
9,
10,
ll.
12,
13.
14,
15.
16.
1/,
18,
19,
20,
21.
n.
23,
24.
25,
26,
2/,
28.
29,
30,
Total
Percentaoe
Criteria~based
Reflection Questions: (["ote examples of student reflections,)
Self-Reflection:
What do you notice about your breathing when you are projecting best? VIIhat do you notice
about your sound?
Peer to Peer: How /lJlas your peer standing when they projected best?
Thoughts about Learning:
Which prompts best communicated concepts? Which lesson dynamics helped or hindered learning?
Lesson Logistics:
Which classroom management techniques supported learning?
Teacher:
Date:
Arts Impact Core J - Arts Foundations Summer Institute - Theater - Anding Your Big Voice
5-8
_
ARTS IMPACT FAMILY LETTER
THEATER LESSON - Finding Your Big Voice
Dear Falllil)/;
Today your child palticipated in a theater arts lesson, \/\/e talked about ways to project the voice in a
theatel',
(0
•
We found our center by realigning the body and using our diaphragms, We sustained sound as
though it was a long sigh of relief.
We learned to "fl-ee" the voice from the body. Instead of straining to push out sound, we
connected to the body center and communicated to a partnet'.
We spoke diffel'ent phrases and projected froni a stage into an auditorium,
At home you could project across the living room, then across the back )/ard.
Enduring Understanding
Projecting sound from the body center produces a loud and clear voice.
Arts Impact Core 1 - Arts Foundations Summer Ji7stttute - Theater - Findli7g )'our Big VOICe
5-8
CLASSROOM RESOURCE
Phrases for Big Voice practice.
1. Allison Beals had twenty-five eels.
SheI Silverstein
2. Toot a whistle, kick a can.
Shel Silverstein
3. I like to fly from roof to roof.
Alma Luz Villanueva
4. Don't keep things locked up deep inside.
Walker Gibson
5. Hop toads hop, but hogs are fatter.
Donald Hall
6. The hot winds slapped my face.
Nancy Gorell
7. Stars explode.
Naomi Shihab Nye
8. I am the color of night.
Lucas Smiraldo
9. The big wind will come.
Simon Ortiz
10. Cats sleep fat.
Rosalie Moore
11. My mother roared like the ocean.
Pat IVlora
12. You t'ink me name chicken!
Ashley Bryan
13. Make music with your life.
Bob O'Meally
14. It's lemonade. It's lemonade. It's April!
Marcia Masters
15. It's spring when the world is puddle wonderful.
e.e. cummings
16. Hold fast to dreams.
Langston Hughes
17. My belly starts to bubble.
Willie Perdomo
18. Listen, it's raining rhythm.
Mariahadessa Ekere Tallie
19. QUick, sunrise, come....
Langston Hughes
20. He's got a nose like strawberries
Dylan Thomas
Arts Impact Core I - Arts Foundations Summer Institute - Theater - Finding Your Big Voice
5-8
Arts Discipline: Theater and Readin
Grade
1 Title:
Sto Book Tableaux
Level:
Author: Bethan Ibach with Gail Frasier Parkwood Elementa
Enduring Understanding: Creating a relationship between characters and the actions they take
expresses a story.
Characters relate to characters in a sto to create a whole.
Examples:
Ta
et:
Criteria:
Tar et:
Criteria:
Ta
I
1. Leads warm-up. Walks about. Guides students as they move through the room in actor neutral.
Prompts: When you here a clap change walking direction. When I call out freeze, create a statue of a rainy
day, a sunny day, a windy day, and a cold winter day. Now create a rabbit, 1,2,3 freeze....an owl, a fox,
and a bear. Move through warn-up qUickly to keep students on task.
Student: Walks around room in neutral creating frozen statues when prompted. Freezes and creates a statue
dis la in a iven erson, lace, or thin .
2. Introduces tableau. Prompts: Stand in actor neutral and close your eyes when prompted. Asks for
students to imagine being at recess on a snowy day and the types of activities they might do. Prompts:
Create a statue of your favorite activity to do in the snow 1, 2, 3 freeze. Selects three students who are
displaying dynamic and different statues to the front of the room. Asks other students to sit around the board
as well. Directs the three chosen students to display their statues once more in front of the group. With the
help of the other students, spotlights the actions. Prompt: What action is Gerardo doing in the snow?
Repositions the students to create a tableau. Prompt: Together these three statues create what we call a
tableau, which is a frozen picture like a photograph or drawing
Student: Works with teacher putting statues into a tableau. Others offer suggestions. Gives sign language
a lause. Embedded Assessment: Peer criteria-based assessment
3. Conducts picture-walk with story book tableaux. Discuss how tableaux are frozen pictures that
relate to books and their illustrations. Use the story The Mitten by Jan Brett to take the students on a picture
walk paying close attention to the illustrations. At various stopping points, gUides students to create tableaux.
Chooses the initiating event, 2-3 plot development scenes, and a closing scene. Prompts: What is happening
in this part of the story? What do you see in the picture? If you created a tableau, what characters would
be needed? What actions would each character do? Let's have some actors hel create this tableau. Guides
1
remaining students to give feedback to the actors about ways they can enhance the action or emotion of
their tableau. Prompts: What could our actors do to make the picture clearer? What could they do differently
with their face and/or body? Actors revise and students give sign language applause. Embedded Assessment:
Criteria-based teacher checklist
Student: Individual students create a statue within a whole C1rouP tableau.
Separate Lesson
4. Leads tableaux with voice. Guides students to recreate the chosen pictures adding a line to each of
the tableaux. Shows students photographs of the tableaux they made the week before. Guides the first
group to come to the front of the room. Helps students get into position to remember what they did. Tells
students to relax, then instructs on adding voice to the tableau with a pre-determined line that fits each
scene they've put into tableaux. Prompts: Now relax. We are going to add a line of dialogue to our tableau
that matches the scene. The line for this tableau is "snow white mittens". Think about how YOIJr character
would say this line. What are they feeling in this tableau? What do they want? Works individually with each
character to support character expression with lines that match each tableau. Prompts: You are the
grandmother. How would she say, "snow white mittens"? Now say it in your statue. Once all characters have
practiced, the tableau is created once more with character voice. Follow this process for each tableau with
theses lines as dialogue: "snow white mittens", "Come on in", "come on in", "Yikes". Prompt: 1,2,3 freeze
(students get into tableau) Note: Scene (students say their line simultaneously. Embedded assessment:
criteria-based teacher checklist.
Student: Reviews picture, gets into tableau and adds voice as gUided by teacher. Puts all the elements
together into one final tableau. Gives siCln lanCluaCle applause.
5. Leads a criteria-based reflection session. Asks students to sit in a circle with the photograph of their
tableau in front of them as a reference. Reviews the process then asks questions about student performance,
modeling a descriptive response to the students. Prompts: What was your character and how did you show
it? Talk about your voice and/or body shape.
Student: Each student sits in circle with photo ~raph and participates in self-re'Aection.
Vocabulary
Resources:
Classroom, Performing WA Essential Learnings and
Performance
Arts Materials
GLEs
•
The
Mitten,
by
Jan
AEL
1.1 concepts:
• character
identification
Brett
• main and minor characters
• character attributes
• Photographs of student • time and place of setting
tableaux
• main action in a scene
• character
relationships
• action
Scheduled
AEL 1.2 skills and techniques:
• story structure
Study Visit:
• feelings
Goodnight Moon
• Uses voice to produce
• vocal choice
Seattle Children's
rhythmic language patterns
• physical choice
Theatre
• Uses simple movements to
• statues
January 18, 2007
imitate character
• tableaux
• Recalls and describes
• freeze
different feelinCls
• actor neutral
Reading EALR and GLE
• 2.1.2 Understands how to
create mental imagery
• 2.2.3 understand story
elements
Grade 1: identify and explain
story elements
Grade 2: retell the important
events of a story
2
Arts Discil: line: I Theater and Readina
Story Book Tableaux
Title:
1
Grade
Level:
Bethany Ibach with Gail Frasier
Author:
READING
THEATER/READING
Students
Body Choices with Others
Character/Actions
Names characters
and the actions
they take within
specific events
Creates body shapes and facial
expressions from story
illlJstrations and discussions to
create a character statue with
others
THEATER
Voice
Total
Points
3
Changes pitch or
volume to
communicate a
specific individual's
attributes
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
Total
Percentaae
3
Were there any students especially
challenged by concepts in the lesson;
what instructional strategies helped
these students?
Were there lesson dynamics that
hel ed or hindered learnin ?
What classroom management
techniques supported student
learnin ?
Other comments:
Family Communication:
Key thoughts in communication to family: learned to create a
relationship between characters and the actions they take to
ex ress a sto .
Received SW 11.23.06; Edited SW 11.30.06; Finalized MB 04.06.07
4