• Pick a topic

• Pick a topic
• List the supporting points you wish to include

• Pick a topic
• List the supporting points you wish to include
• Choose an order
(chronological, spatial, order of importance)

• Pick a topic
• List the supporting points you wish to include
• Choose an order
(chronological, spatial, order of importance)
• Choose a theme [optional]
(pirates, beach, cattle drive, marathon, T.V. show, etc.)

• Pick a topic
• List the supporting points you wish to include
• Choose an order
(chronological, spatial, order of importance)
• Choose a theme [optional]
(pirates, beach, cattle drive, marathon, T.V. show, etc.)
• Choose a formal plan
(iambic pentameter, sonnet, limerick, haiku, common meter, free)

• Pick a topic
• List the supporting points you wish to include
• Choose an order
(chronological, spatial, order of importance)
• Choose a theme [optional]
(pirates, beach, cattle drive, marathon, T.V. show, etc.)
• Choose a formal plan
(iambic pentameter, sonnet, limerick, haiku, common meter, free)
• Write the first line and see where it goes
(cross off the supporting points as you use them)

• Pick a topic
Dynamic levels

• Pick a topic
Dynamic levels
• List the supporting points you wish to include
Indicated in Italian
Meaning (softness and loudness of sound)
Basic levels (piano, forte)
Extremes (pianissimo, fortissimo)
Moderations (mezzo piano, mezzo forte)
Gradual changes (crescendo and decrescendo)

• Pick a topic
Dynamic levels
• List the supporting points you wish to include
Indicated in Italian
Meaning (softness and loudness of sound)
Basic levels (piano, forte)
Extremes (pianissimo, fortissimo)
Moderations (mezzo piano, mezzo forte)
Gradual changes (crescendo and decrescendo)
• Choose an order

• Pick a topic
Dynamic levels
• List the supporting points you wish to include
Indicated in Italian
Meaning (softness and loudness of sound)
Basic levels (piano, forte)
Extremes (pianissimo, fortissimo)
Moderations (mezzo piano, mezzo forte)
Gradual changes (crescendo and decrescendo)
• Choose an order
• Choose a theme [optional]
Alliteration of dynamic levels with Italian cities (piano/Pisa, forte/Florence, etc.)

• Pick a topic
Dynamic levels
• List the supporting points you wish to include
Indicated in Italian
Meaning (softness and loudness of sound)
Basic levels (piano, forte)
Extremes (pianissimo, fortissimo)
Moderations (mezzo piano, mezzo forte)
Gradual changes (crescendo and decrescendo)
• Choose an order
• Choose a theme [optional]
Alliteration of dynamic levels with Italian cities (piano/Pisa, forte/Florence, etc.)
• Choose a formal plan
• Write the first line and see where it goes

• Writing the first line may suggest the formal plan
Dynamic levels are written in Italian. (Dactylic tetrameter)

Dynamic levels are written in Italian.

Dynamic levels are written in Italian.
(There aren’t many words that will rhyme with “Italian.”)

Dynamic levels are written in Italian.
(There aren’t many words that will rhyme with “Italian.”)
They’re used to show softness or loudness of sound.
The Italian language is where they are found.
Piano’s a word that you already know;
It plays do, re, mi, fa, sol, la, ti, and do.
But in Pisa, piano means “soft,” as in “hushed.”
Pray the Tower won’t fall on me—I would be crushed!
Forte, in Florence, is used to mean “loud,”
Which is what music is, if performed by a crowd.
A crescendo increases the loudness, but then
Decrescendo decreases it back down again.
Moderation results, in Milan, using mezzo.
Now, don’t ask me why. It’s just true ‘cause I said so.
In Bologna, a beautiful girl is belissima.
A very shy one might be called pianissima.
That leaves only this: very loud (that’s fortissimo),
And I just don’t have time for a rhyme for fortissimo.

Staging and presenting the skit
• End the preceding class a few minutes early, and ask for interested students to stay after class. Stress that staying does not commit them to participating.

Staging and presenting the skit
• End the preceding class a few minutes early, and ask for interested students to stay after class. Stress that staying does not commit them to participating.
• Take the most embarrassing role yourself. DON’T ask your students to make fools of themselves!

Staging and presenting the skit
• End the preceding class a few minutes early, and ask for interested students to stay after class. Stress that staying does not commit them to participating.
• Take the most embarrassing role yourself. DON’T ask your students to make fools of themselves!
• Go through what you want them to say, and assign specific lines to specific students. Don’t ask anyone to memorize lines, but tell them it’s okay to use their copies of the poem for the skit. Keep it simple!

Staging and presenting the skit
• End the preceding class a few minutes early, and ask for interested students to stay after class. Stress that staying does not commit them to participating.
• Take the most embarrassing role yourself. DON’T ask your students to make fools of themselves!
• Go through what you want them to say, and assign specific lines to specific students. Don’t ask anyone to memorize lines, but tell them it’s okay to use their copies of the poem for the skit. Keep it simple!
• Go through any movement or costumes that you want. Keep it simple!

Staging and presenting the skit
• End the preceding class a few minutes early, and ask for interested students to stay after class. Stress that staying does not commit them to participating.
• Take the most embarrassing role yourself. DON’T ask your students to make fools of themselves!
• Go through what you want them to say, and assign specific lines to specific students. Don’t ask anyone to memorize lines, but tell them it’s okay to use their copies of the poem for the skit. Keep it simple!
• Go through any movement or costumes that you want. Keep it simple!
• Go through the skit or reading one time. Don’t require your volunteers to stay too long. Ask for a commitment before you leave, and remind them when the skit will take place. Ask them to meet you ten minutes before that class at your office.

Staging and presenting the skit
• End the preceding class a few minutes early, and ask for interested students to stay after class. Stress that staying does not commit them to participating.
• Take the most embarrassing role yourself. DON’T ask your students to make fools of themselves!
• Go through what you want them to say, and assign specific lines to specific students. Don’t ask anyone to memorize lines, but tell them it’s okay to use their copies of the poem for the skit. Keep it simple!
• Go through any movement or costumes that you want. Keep it simple!
• Go through the skit or reading one time. Don’t require your volunteers to stay too long. Ask for a commitment before you leave, and remind them when the skit will take place. Ask them to meet you ten minutes before that class at your office.
• When it’s time for the skit or reading, have fun! Be ready to improvise and direct the skit as it takes place. When it’s over, thank and compliment all of the participants.