Arts Integration Lesson Framework
Integrate, Innovate, Collaborate: Building 21st Century Schools in AACPS for AI
rev:5/2017
GRADE
Character Transformation as a Way to Build Empathy
TITLE
Connected Students will draw upon inference and acting skills (character transformation) to write monologues that express a
Objectives character’s point of view.
Common
Core/State
Curriculum/
NGSS/ITEA
Standards
ELA Standards Grade 9
MD Theatre Standards Grade 9
Reading: Literature Standards
RL 9-10.1 Cite strong and thorough textual evidence to support
analysis of what the text says explicitly as well as inferences drawn
from the text.
RL 9-10.3 Analyze how complex characters (e.g., those with multiple
or conflicting motivations) develop over the course of a text, interact
with other characters, and advance the plot or develop the theme.
Outcome III: Creative Expression and Production: The student will
demonstrate the ability to explore the creative process through
theatrical activities and to apply theatrical knowledge, principles, and
practices to collaborative theatre presentations.
Writing Standards
W.9-10.3 Write narratives to develop real or imagined experiences
or events using effective technique, well-chosen details, and wellstructured event sequences.
Speaking and Listening Standards
SL.9-10.4 Present information, findings, and supporting evidence
clearly, concisely, and logically such that listeners can follow the line
of reasoning and the organization, development, substance, and
style are appropriate to purpose, audience, and task.
SL.9-10.6 Adapt speech to a variety of contexts and tasks,
demonstrating command of formal English when indicated or
appropriate.
Driving
Question(s)
Expectation A: The student will rehearse and perform a variety of
theatrical activities.
Indicator 2: The student will construct imaginative scripts and
collaborate with actors to refine scripts so the stories and their
meaning are conveyed to an audience.
Expectation B. The student will demonstrate knowledge of theatre
performance and production skills in formal and informal
presentations.
Indicator 4. The student will demonstrate an ability to use
theatrical knowledge, principles, and practices to create and
sustain characters that communicate with audiences.
How does “stepping into someone else’s shoes” help us to better understand that person?
Formative Assessment(s)
•
•
•
•
•
9
Observation
PQP
Think-Pair-Share
Large group discussion
Reflection
English 9 Honors, Quarter 1, Strand 4
Summative assessment(s)
•
•
PEM + V, Character Transformation Rubric
Written monologue
21st Century Skills
Choose from the following to support Knowledge/Skills
o
Critical Thinking & Problem Solving
o
Creativity & Innovation
o
Collaboration & Teamwork
o Cross Cultural Understanding
Arts Integration Lesson Framework
Lesson Steps/Strategies for Learning
Integrate, Innovate, Collaborate: Building 21st Century Schools in AACPS for AI
rev:5/2017
Duration: ~90 minutes
Introduction/Motivation (~5 min.)
Show students cartoon faces (e.g. emojis) expressing a variety of emotions; have students identify the emotion that each face represents.
Ask for a volunteer to choose an emotion and show what that emotion would look/sound like on a real person. Solicit feedback from the audience
to refine the portrayal of the chosen emotion. Repeat this procedure with additional emotions if time allows.
Modeling: Character Transformation (~10 min.)
Introduce a formula for stepping into someone’s shoes, or creating characters: PEM + V = Character
P = Posture
E = Expression
M = Movement
V= Voice
Practice the elements of PEM+V by completing one or more of the following activities:
• Posture: Stand so that your posture conveys a specific emotion. Have students guess which emotion your posture represents and explain how
they know. (Students could also complete this activity with a partner or in a small group.)
• Posture: Have students stand and alter their own posture (shape of body) to turn into an old person. Ask students to identify which body parts
they had to move and how in order to adopt the posture of an old person.
• Expression: Use your face to convey a specific emotion. Have students guess which emotion your facial expression represents and explain
how they know. (Students could also complete this activity with a partner or in a small group.)
• Expression: Have students create an “old person” expression to go along with their “old person” posture. Then have students add an emotion
to that face by moving their facial features (e.g. eyebrows up/down, cheeks in/out, lower lip up/down). Ask students to identify which facial
features they had to move and how in order to adopt the expression of an old person.
• Expression: Show students a painting or photograph that features several people. Use the I See/ I Think / I Wonder (Artful Thinking) routine to
so guess the emotion of each person. Discuss the clues that helped students ascertain each person’s emotional state.
• Movement: While maintaining their “old person” posture and expression, have students circulate around the room using “old person”
movements and gestures. Ask students to identify which body parts they had to move and how in order to adopt the posture of an old person.
• Voice: Have students practice modulating their voices (e.g. pitch up/down, volume soft/loud, British accent, shape of mouth) while repeating
the same word or phrase. Discuss how each element of voice changes the way an audience would perceive the meaning of the word/phrase.
• Voice: Have students select a catch word or phrase for their old person. While maintaining their “old person” posture, expression, and
movement, have students circulate around the room and repeat the catch word/phrase using an “old person” voice. Ask students to identify
which aspects of their voices they had to modulate and how in order to adopt the voice of an old person.
Guided Practice (Part 1) (~10 min.)
Choose a story with which most students are familiar (e.g. Cinderella). Ask students to identify characters that might be involved in the story;
these can include characters that have only a marginal role in the story (e.g. guests at the ball, the mice, other people who live in the town,
witnesses to fights between Cinderella and her step-sisters).
English 9 Honors, Quarter 1, Strand 4
Arts Integration Lesson Framework
Integrate, Innovate, Collaborate: Building 21st Century Schools in AACPS for AI
rev:5/2017
Model how to complete the Character Graphic Organizer to better understand Cinderella and how to write a 4-sentence monologue from her point
of view (using the template at the bottom of the Character Graphic Organizer). This monologue explains what the character wants, something or
someone that is standing in the character’s way, and what a possible resolution could be.
Provide each student with a copy of the Character Graphic Organizer. Explain that the students will complete the graphic organizer based on a
character in the story whose point of view is not emphasizedor even representedin the story. (Depending on time constraints, students may
complete this activity with a partner or in a small group.)
Ask students to practice applying PEM + V to the character they’ve chosen. As students walk around the room in character, the students use their
bodies and voices to refine their PEM + V based on the following prompts: [Note: Ask these questions one at a time and leave enough time
between questions for students to adjust their bodies and voices as they consider each question.]
a. Do you have a goal? If so what?
b. Why is your goal important to you?
c. Who is standing in your way of getting what you want?
d. How could you get what you want anyway?
Independent Practice: (~7 min.)
Ask students to create a 4-sentence monologue for their chosen character using the template on the Character Graphic Organizer and the
teacher-created model as references. Ask students to prepare to deliver their monologues by applying PEM+V to reflect the character and his/her
concerns.
Assessment: (~8 min.)
In pairs or small groups, the students read their monologues to each other, using PEM + V. Provide copies of the Character Transformation
Rubric and give the students time to assess each other for PEM + V and also a clear character point of view. Encourage students to give
feedback using the PQP format. If time permits, some students may choose to present their monologues to the class.
Reflection/Think About… (~5 min.)
• Why did you pick the character you chose?
• Was it difficult to see the world through this person’s eyes?
• What was the process you used to add details to your physicality or voice?
• What did transforming into this character help you understand about him or her?
Guided Practice (Part 2) (~25 min.)
Divide students into pairs or small groups. Explain that within each group, students will analyze two different characters who are involved in a
conflict in A Raisin in the Sun. Suggested pairings include the following: Walter and Beneatha, Walter and Mama, Walter and Ruth, Walter and
Willy Harris, Walter and Karl Lindner, Beneatha and Mama, Beneatha and George Murchison, Beneatha and Joseph Asagai. [Alternatively, the
teacher can assign a pair of characters to each pair or small group, or the teacher may choose to have all students examine the same conflict.]
English 9 Honors, Quarter 4, Strand 2a
Arts Integration Lesson Framework
Integrate, Innovate, Collaborate: Building 21st Century Schools in AACPS for AI
rev:5/2017
Have students complete the Character Graphic Organizer for their chosen characters. Then lead a discussion of the students’ responses. [If
necessary, the teacher can select a conflict and model completing the organizer for the characters involved in that conflict. Students can then
organizers for their own selected characters.]
Help students apply PEM + V by leading them through the character transformation process (similar to the process of becoming an old person at
the beginning of the lesson). Focus on character emotion, particularly fear: What is this character afraid of? How does this show up in the
character’s face and body? [Note: For the sake of time, you may choose to have half of each pair or small group focus on each character.]
Ask students to practice applying PEM + V to their assigned character. As students walk around the room in character, the students use their
bodies and voices to refine their PEM + V based on the following prompts: [Note: Ask these questions one at a time and leave enough time
between questions for students to adjust their bodies and voices as they consider each question.]
a. Do you have a goal? If so what?
b. Why is your goal important to you?
c. Who is standing in your way of getting what you want?
d. How could you get what you want anyway?
At the end of this exploration, ask the students to choose one small expressive elementposture, expression, movement (gesture) or voice
that best expresses this character’s fear. (10 min.)
Independent Practice: (~7 min.)
Ask students to create 4-sentence monologues for each of their selected characters using the template on the Character Graphic Organizer
and the teacher-created model as references. Have students prepare to deliver their monologues by applying PEM+V to reflect the character
and his/her concerns. [Note: For the sake of time, you may choose to have half of each pair or small group focus on each character.]
Assessment: (~8 min.)
In pairs or small groups, the students read their monologues to each other, using PEM + V. Provide copies of the Character Transformation
Rubric and give the students time to assess each other for PEM + V and also a clear character point of view. Encourage students to give
feedback using the PQP format. If time permits, some students may choose to present their monologues to the class.
Reflection/Think About… (~5 min.)
• Was it more difficult to see the world through one character’s eyes than it was through the other character’s eyes?
• How did the process you used to add details to your physicality or voice differ for each character?
• What did transforming into each character help you understand about him?
• How could understanding each other better have helped the characters resolve their conflict?
• Could the characters have found a solution that might have helped them both achieve their goals? Why?
English 9 Honors, Quarter 4, Strand 2a
Arts Integration Lesson Framework
Extensions, Adaptations, Differentiation:
Integrate, Innovate, Collaborate: Building 21st Century Schools in AACPS for AI
Resources needed:
Extensions:
Use PEM + V to help students analyze
characters on a deeper level, especially in
cases that rely heavily on inferencing.
(in literature, history, etc.).
Character Graphic Organizer, three per
student [Note: Copy this double-sided to
reduce paper, or provide one copy and have
students complete subsequent analyses on
their own paper.]
Use the Character Graphic Organizer and the
4-sentence monologue template to help
students analyze a conflict between two or
more parties. Ask students to develop solutions
that would fulfill all of the parties’ needs to the
greatest degree possible.
Character Transformation Rubric, one per
student
Adaptations:
• Introduce the basic character
transformation process during an earlier
lesson and focus only on Mayella and
Tom during this lesson.
• Have students perform their
monologues using Reader’s Theater.
• Have opposing parties deliver their
monologues and then participate in a
dialogue to resolve their conflict.
• Use the Character Graphic Organizer
and the 4-sentence monologue template
to analyze historical figures and
situations.
• Propose alternate solutions to conflicts
in literature; focus on restorative justice
rather than punitive justice.
Differentiation:
• Students can complete all
activities individually, in pairs, or
in small groups.
• Clarify instructions by modeling.
English 9 Honors, Quarter 4, Strand 2a
A Raisin in the Sun, one per student
rev:5/2017
Reflection method(s):
•
•
•
•
Think-Pair-Share
Large group discussion
I See/I Think/ I Wonder
Think/Puzzle/Explore
•
•
Arts Integration Lesson Framework
Allow students to improvise a
monologue based on their
completion of the Character
Graphic Analysis (rather than
writing one out).
As necessary, accommodate
students with anxiety over public
speaking.
English 9 Honors, Quarter 4, Strand 2a
Integrate, Innovate, Collaborate: Building 21st Century Schools in AACPS for AI
rev:5/2017
Character Graphic Organizer
Writing Prompts: Answer each question from the perspective of your character. Write
1-2 sentences for each question. Use first person point of view.
1. Who are you?
2. In this situation, what do you want? Why?
3. Who (or what) is standing in your way? Why?
4. What are you afraid might happen if you don’t get what you want? Why?
4-Sentence Monologue Template:
1. My name is _____ and I am _____.
2. What I want right now is _____ because _____.
3. _____ is standing in my way because _____.
4. I’m afraid that if I don’t _____, _____ (will happen); then _____.
4-Sentence Monologue Example:
My name is Cinderella and I am treated like a servant by my cruel stepmother. What I
want right now is to go to the ball so I can meet the prince. My stepmother and
stepsisters are standing in my way because they destroyed my only dress and now I
have nothing to wear. I’m afraid that if I don’t go to the ball, I’ll never meet the prince;
then I’ll be stuck in this life forever.
Adapted from Laura Zam
Character Transformation Rubric
Your Name:
Actor’s Name:
1 = Excellent
2 = Good
3 = Needs Improvement
Posture:
The actor uses changes in posture to create his/her character.
Expression:
The actor uses changes in facial expression to create his/her character.
Expressive changes seem consistent with the character’s emotions.
Movement:
The actor uses movement that seems consistent with the character’s
personality.
Voice:
The actor uses changes in voice to create his/her character.
Vocal changes seem consistent with the character’s emotions.
Point of View:
The actor’s monologue is delivered entirely in the first-person point of
view.
Perspective:
The actor’s monologue expresses a perspective that seems consistent
with the character in the story.
Motivation:
The actor’s monologue shows a deep understanding of his/her
character’s motivation (i.e. WHY the character has a certain perspective
or takes certain actions).
1 2 3
1 2 3
1 2 3
1 2 3
1 2 3
1 2 3
1 2 3
Praise: One thing the actor did well
Question: One thing you didn’t understand or you want to know more about
Polish: One thing the actor could do to improve
Adapted from Laura Zam