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DISCOVER THE STAGE - Sydney Opera House

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digital education program<br />

<strong>DISCOVER</strong><br />

<strong>THE</strong> <strong>STAGE</strong><br />

TEACHERS’ RESOURCES: <strong>STAGE</strong> 3<br />

1 house:Ed 2012


SYDNEY OPERA HOUSE<br />

<strong>DISCOVER</strong><br />

<strong>THE</strong> <strong>STAGE</strong><br />

subject links:<br />

HSIE/Science & Technology/<br />

English<br />

Teacher’s references:<br />

Guidelines for Classroom Drama,<br />

Theatre Superstition Cards, Still<br />

Image Prompts, Stimulus Images<br />

<strong>STAGE</strong> 3<br />

OUTCOMES AND INDICATORS<br />

Creative Arts<br />

DRAS3.1<br />

Develops a range of in-depth and sustained<br />

roles.<br />

DRAS3.2<br />

Interprets and conveys dramatic meaning by<br />

using the elements of drama and a range of<br />

movement and voice skills in a variety of drama<br />

forms.<br />

DRAS3.3<br />

Devises, acts and rehearses drama for<br />

performance to an audience.<br />

Indicators<br />

• takes on a range of roles challenging character stereotypes, depicting<br />

empathy, different and contrasting attitudes and status<br />

• negotiates and sustains roles and their relationships in shaping the action<br />

collaborates to convey dramatic meaning by responding abstractly to<br />

represent ideas, feelings, objects and situations<br />

Indicators<br />

• responds confidently with gesture, movement and voice skills to a range of<br />

scripts and other texts to structure the narrative or episodes and build on<br />

the action of the drama<br />

• interprets a dramatic context through the use of a combination of various<br />

drama forms, eg improvisation, movement, mime, storytelling, puppetry,<br />

mask, video drama and playbuilding<br />

• combines and manages the elements of drama (eg tension, contrast,<br />

symbol, time, space, focus and mood) to communicate the depth of<br />

meaning of their drama work<br />

Indicators<br />

• devises drama in collaboration with others using scripted and unscripted<br />

material as resources for drama performances<br />

• organises space, props, costumes, artefacts, sound effects and movement<br />

sequences to help define role, place and situation to interpret and convey<br />

the meaning of the drama<br />

• refines and performs drama work for a greater variety of audiences,<br />

e.g. reworks and rehearses scenes which are then performed in places<br />

such as the classroom, the school hall and in spaces beyond the school<br />

environment<br />

• devises, rehearses and acts in drama using voice and movement skills to<br />

convey meaning to an audience<br />

SCIENCE & TECHNOLOGY<br />

DMS3.8<br />

Develops and resolves a design task by planning,<br />

implementing, managing and evaluating design<br />

processes.<br />

indicators<br />

• describe the factors that influence design<br />

• justify the decisions made in designing and making<br />

• justify the combination of materials and techniques in relation to the<br />

properties required for specific end uses<br />

• describes the process of designing and making which can involve<br />

identifying needs and wants, defining a design task, generating and<br />

selecting ideas, assembling or constructing products, systems or<br />

environments, and evaluating outcomes<br />

2 house:Ed 2012


english<br />

TS2.2<br />

Interacts effectively in groups and pairs,<br />

adopting a range of roles, uses a variety of media<br />

and uses various listening strategies for different<br />

situations.<br />

Indicators<br />

• listens to spoken presentations and responds appropriately<br />

• responds to different viewpoints in a discussion<br />

WS3.9<br />

Produces a wide range of well-structured and<br />

well-presented literary and factual texts for a<br />

wide variety of purposes and audiences using<br />

increasingly challenging topics, ideas, issues and<br />

written language features.<br />

Indicators<br />

Joint and Independent Writing<br />

• when necessary, records information from a variety of sources before<br />

writing<br />

• rereads work during writing to maintain sequence and check meaning,<br />

changing words and phrases or checking for errors<br />

• plans writing through discussion with others and by making notes, lists or<br />

drawing diagrams<br />

• contributes to joint text construction activities<br />

• writes more involved literary texts<br />

Channel of Communication<br />

• discusses the similarities and differences between spoken and written<br />

language<br />

• works with different text types using different channels of communication,<br />

e.g. poetry, dramatic performance<br />

3 house:Ed 2012


Lesson Content and Teaching/Learning Activities Resources Register<br />

PRE-WORKSHOP ACTIVITIES<br />

1 Theatre Superstitions<br />

• Elicit from students their understanding of ‘theatre’. Discuss any experiences<br />

students may have had attending or performing in theatre productions.<br />

• Elicit from students the meaning of ‘superstition’. Discuss common superstitions<br />

students may be aware of. E.g.<br />

• Friday the thirteenth is an unlucky day<br />

• If you walk under a ladder, you will have bad luck<br />

• At the end of a rainbow is a pot of gold<br />

• A cat has nine lives<br />

• An apple a day keeps the doctor away<br />

• Explain to students that there are a number of superstitions associated with the<br />

theatre. Split students into groups of 3-4 and give each group a ‘Theatre Superstition’<br />

card (multiple groups will have the same superstition). Groups are to come up with<br />

what they believe is the meaning behind the superstition they were given. Students<br />

should write their agreed meaning down to share with the class.<br />

• Groups share their meanings and be given the correct reason behind each<br />

superstition. Students should have these ready to discuss in their digital excursion.<br />

Theatre<br />

superstition<br />

cards– (to<br />

be put on<br />

cardboard if<br />

desired)<br />

Paper/<br />

Journal<br />

Pencils<br />

Rubbers<br />

2 Technical aspects of the theatre (research task)<br />

• Students should work individually or in pairs and select to research either the<br />

various Technical Aspects of the Theatre or Theatre History.<br />

• For Technical Aspects of Theatre, students should be encouraged to focus on:<br />

• Places in a theatre e.g. Greenroom, Dressing Room<br />

• Jobs in the theatre e.g. Director, actor, Stage Manager, Lighting, Ushers<br />

• For Theatre History, students should be guided to focus on:<br />

• What was the first recognised ‘theatre’ (The Theatre built in 1576 by<br />

James Burbage)<br />

• What are the most famous theatres around the world now and in the<br />

past (E.g. The Globe Theatre, <strong>Sydney</strong> <strong>Opera</strong> <strong>House</strong>, Roman Colosseum)<br />

• Why are theatres designed today the way they are today<br />

• The class should choose to collectively present their information either in a ‘book’<br />

or on a large sheet of cardboard/paper. As students find new information they<br />

should continue to add this information to their growing knowledge of ‘theatre’.<br />

Computer<br />

with<br />

Internet<br />

access<br />

Journal,<br />

paper or<br />

cardboard<br />

for recording<br />

ideas<br />

3 STILL Image (Tableaux) Preparation<br />

The following activities focus on how the body can show expression both individually<br />

and in collaboration and balance with others. It is important to set up the space for a<br />

drama session (see attached guidelines).<br />

Sharing Emotion<br />

• Students form two lines facing each other across the room. One line is line A,<br />

the other line B. Give line A an emotion. On a given cue, both lines are to move<br />

toward one another. Line A should walk demonstrating that emotion while Line B<br />

remains neutral. As they pass, the half of the pair in Line A ‘passes’ the emotion<br />

to their partner in Line B who continues crossing the room in the same manner<br />

that their Line A pair began while the Line A student completes their crossing<br />

neutrally.<br />

• Line B is then given a turn to show and ‘pass’ the emotion.<br />

Guidelines<br />

for<br />

classroom<br />

drama<br />

Still Image<br />

Prompt<br />

cards<br />

4 house:Ed 2012


3 Body Part Emotions<br />

• Ask students to find a space in the room to work through the following activities.<br />

First, students are to show the given emotion using the body part selected, as<br />

follows<br />

• Face - sadness<br />

• Hands - happiness<br />

• Knees - scared<br />

• Elbows – Nervous<br />

• Hands – anger<br />

• Face – surprised<br />

• Next, students are to work in pairs and show opposite emotions e.g. Face –<br />

happy/sad, Hands-angry/scared. Then ask pairs to come up with their own<br />

combinations.<br />

Guidelines<br />

for classroom<br />

drama<br />

Still Image<br />

Prompt<br />

cards<br />

POST-WORKSHOP ACTIVITIES<br />

4 Preparation for interaction with Discover the Stage digital workshop<br />

(Omit if class has already done Discover the <strong>House</strong>)<br />

• Before the day of the excursion have a discussion with your class about<br />

interacting with digital workshop. Topics you might like to cover include:<br />

• What is a digital workshop It is the ability to experience something first hand<br />

without leaving the comfort of your classroom. Digital excursions also give you<br />

the ability to go places that you couldn’t normally, e.g. behind the scenes or under<br />

the sea.<br />

• Being aware that the workshop presenters can hear and see everyone at all times,<br />

just like with any excursion and they are happy to answer questions throughout<br />

the experience.<br />

• Appropriate behaviour towards the workshop presenter and the other schools<br />

that will be present on the digital workshop. Turn taking, speaking loudly and<br />

clearly etc.<br />

• Have fun and don’t be shy!<br />

5 PLAY BUILDING Character and Role Play/Character Development<br />

• Students are to work in small groups (3-4 students). Each group is to be given a<br />

stimulus image (examples provided). Students should work through the following<br />

tasks to support the building of characters based on the given image.<br />

• Discuss the image: where is it, when is it, who is involved<br />

• Decide on the characters involved in the image: give them a name, an age, three<br />

key things about their personality<br />

• Decide on the relationship between the chosen characters<br />

Stimulus<br />

Images<br />

Hot Seating<br />

NB. Hot Seating is an activity to assist the building and exploration of character and can be<br />

used in the development of characters as well as learning about existing characters from novels<br />

or times in history e.g. Captain Cook or Harry Potter<br />

• A volunteer should be selected to take the ‘hot seat’. Students to ask them<br />

questions about their character. These could include basic information (name,<br />

age) as well as more complex questions about likes, dislikes, relationships etc<br />

This activity should be repeated for a number of volunteers<br />

Role Play<br />

• Students should re-form into their original groups and discuss any new or altered<br />

information that may have emerged in the hotseat activity.<br />

• Students to work on a short role play which demonstrates how each of the<br />

characters interact and how they are related to the stimulus image. Students<br />

should be given at least 10 minutes to complete this section of the lesson.<br />

• Volunteer groups to perform their role plays.<br />

5 house:Ed 2012


Lesson Content and Teaching/Learning Activities Resources Register<br />

6 Playbuilding – Script and Set or Costume Design<br />

This could be divided into two lessons if desired.<br />

Students are to work in groups to develop a script (one page) as well as set or<br />

costume design. This activity is part of the Playbuilding process begun in the<br />

previous lesson. This lesson could be done within a 45-60 minute session or<br />

extended to 2-3 lessons if desired.<br />

• As a class discuss ideas regarding important aspects of set/costume design<br />

e.g. realistic space for actors to work in, appropriate design for storyline,<br />

managing unique costumes, costumes that are functional, suitable for space<br />

available etc.<br />

• Remind students of the key components of a script: Title, list of characters,<br />

brief overview of each character, scene heading, dialogue with character<br />

names. Remind students they are recording the ‘spoken’ word as part of the<br />

script and encourage informal language use.<br />

Group script and set/costume development<br />

• Students are to work in their groups and reflect on their group’s still image,<br />

developed characters and storyline used for the role-play activity. They need<br />

to consider any special or unusual effects required and decide whether they<br />

will design a set or costumes.<br />

• Provide students with a script example to remind them of the key components<br />

and layout. The improvised role plays should be used as the focus of the script<br />

with students refining what was said.<br />

• Students to design a set or costumes for their script. This can be done on<br />

paper or computer depending on available resources, time and level of student<br />

skill. If time is limited, students could also be guided to write down ideas for<br />

verbally sharing with the class. If model set are to be built, all designs should<br />

be drawn/planned prior to construction commencing.<br />

Performance and presentation<br />

• Groups to introduce their performance and design/costumes to the class<br />

justifying their choices and describing how it links to their still image.<br />

• Students to perform their scripts to the class.<br />

Open boxes<br />

Scraps of<br />

material<br />

Coloured<br />

pencils<br />

General craft<br />

materials to<br />

assist with set<br />

construction<br />

Glue/Sticky<br />

Tape/<br />

Scissors<br />

teacher’s overview and unit evaluation<br />

6 house:Ed 2012


SYDNEY OPERA HOUSE<br />

<strong>DISCOVER</strong><br />

<strong>THE</strong> <strong>STAGE</strong><br />

Guidelines for<br />

Classroom Drama<br />

GOOD WEBSITES:<br />

Drama Resource<br />

dramaresource.com<br />

Drama NSW<br />

dramansw.org.au<br />

Teach Kids Drama Stuff<br />

teachkidsdramastuff.com/index.html<br />

Drama in the classroom can be used to support learning in a<br />

variety of key learning areas by giving students the opportunity<br />

to explore ideas and issues in a meaningful and realistic manner.<br />

Drama has been considered to assist with the development of<br />

self-esteem, communication skills, problem-solving abilities<br />

and in the development of focus and team building through fun<br />

activities.<br />

Incorporating drama in a primary school classroom presents a<br />

number of challenges for teachers, but reaps many rewards for all<br />

involved when attempted. The following suggestions are designed<br />

to provide some food for thought in relation to doing drama in the<br />

classroom and are intended as a guideline only.<br />

When doing drama in the classroom ensure:<br />

• A clear work space is available for the drama activity.<br />

If desks can not be moved in the classroom, try to use the hall or outside open area.<br />

• You talk to the students about the creation of a ‘safe space’. In this space students don’t laugh at each other, but support<br />

and encourage (forming a circle at the beginning and end of a session or sitting with eyes closed are simple ways to focus<br />

students for a drama session).<br />

• You incorporate a reflection session at the end of every drama activity. This allows the students to consider what has been<br />

done and take more meaning away from the activity than it just being fun (which it will be!).<br />

• You are firm with the students. If a student does not follow instructions, they should be removed from the activity. This<br />

will allow the other students to see that you as the teacher are assisting in maintaining the safe space for them to work.<br />

• You always begin every drama session with a warm-up. This could include a focus activity, drama game or pure physical<br />

warm-up. There are good books and websites available with suggestions of warm-up activities and drama games.<br />

• Don’t be afraid to participate in the activities yourself. The students like to see you as the teacher taking a role in an<br />

activity. This can also allow you to help any improvisations or role plays flow and move forward more easily.<br />

(Dorothy Heathcote’s work on Mantle of the Expert and Teacher in Role discusses this in more detail).<br />

7 house:Ed 2012


SYDNEY OPERA HOUSE<br />

<strong>DISCOVER</strong><br />

<strong>THE</strong> <strong>STAGE</strong><br />

<strong>DISCOVER</strong> <strong>THE</strong> <strong>STAGE</strong><br />

STUDENT RECORD SHEET, <strong>STAGE</strong> 3<br />

year:<br />

Term: 2012<br />

Student:<br />

mark: /40<br />

Percentage:<br />

Insert or glue sample of the student’s work here or a photo of<br />

them completing an activity. Highlight the appropriate face below<br />

corresponding to students progress for each criteria.<br />

<br />

<br />

<br />

=5 =3 =1<br />

Student interacts effectively in groups, adopting a range of roles and using various<br />

listening strategies for the different activities.<br />

<br />

<br />

<br />

Student uses technology effectively to research places and jobs in the theatre.<br />

<br />

<br />

<br />

Student takes on and sustains roles in emotion activities.<br />

<br />

<br />

<br />

Student sequences the action of the drama to create meaning for an audience within<br />

the still image group activities.<br />

<br />

<br />

<br />

Student builds the action of the drama using movement and voice skills as they<br />

develop characters.<br />

<br />

<br />

<br />

Student devises, acts and rehearses drama for performance through the playbuilding<br />

process<br />

<br />

<br />

<br />

Student develops and resolves the set/costume design task by planning, implementing,<br />

managing and evaluating the design process.<br />

<br />

<br />

<br />

Student produces a literary or factual research report and/or script through the<br />

research and playbuilding processes.<br />

<br />

<br />

<br />

8 house:Ed 2012


Still Image<br />

Prompt Cards<br />

Emotion / Setting<br />

COPY <strong>THE</strong>SE ONTO<br />

CARD AND CUT OUT<br />

happy<br />

BIRTHDAY<br />

CELEBRATION<br />

surprised<br />

GOOD MARK<br />

AT SCHOOL<br />

worried<br />

DOING PUBLIC<br />

SPEAKING<br />

excited<br />

LAST DAY<br />

OF SCHOOL<br />

9 house:Ed 2012


theatre<br />

superstition<br />

cards<br />

COPY <strong>THE</strong>SE ONTO<br />

CARD AND CUT OUT<br />

BREAK A LEG<br />

CHOOKAS<br />

NO WHISTLING<br />

MIRRORS<br />

FLOWERS ON<br />

<strong>STAGE</strong><br />

THAT SCOTTISH<br />

PLAY<br />

BAD LUCK TO<br />

WEAR BLUE UNLESS<br />

WITH SILVER<br />

DON’T LOOK<br />

THROUGH<br />

<strong>THE</strong> CURTAIN<br />

10 house:Ed 2012


theatre<br />

superstition<br />

cards<br />

COPY <strong>THE</strong>SE ONTO<br />

CARD AND CUT OUT<br />

People threw money onto the stage if<br />

they liked the show, so when the actor<br />

bent their legs to bow and pick up the<br />

money, they broke the line of their leg.<br />

This started in Australia with dancers. If<br />

they danced well then they’d make<br />

money and be able to have chicken for<br />

dinner that night.<br />

Before we had walkie-talkies people<br />

backstage used whistling to give cues.<br />

If someone was<br />

whistling it could make a curtain come<br />

down at the wrong time that would<br />

muck up the show.<br />

People think it is bad luck to have a<br />

mirror on stage. It will reflect light into<br />

the audience’s eyes.<br />

Real flowers are too expensive and<br />

they would wilt under the lights.<br />

Companies that were not doing well would<br />

wear blue to make people think they<br />

were doing better as it was expensive to<br />

buy blue clothes.<br />

Don’t say MacBeth backstage at a<br />

theatre as it is considered bad luck.<br />

One thought is that Shakespeare met<br />

with some witches to write the play<br />

they weren’t happy so cursed it.<br />

Don’t look through the curtain as you<br />

might see people you know,<br />

get really nervous and not perform well.<br />

11 house:Ed 2012


Stimulus Images<br />

print in colour<br />

12 house:Ed 2012


Stimulus Images<br />

print in colour<br />

13 house:Ed 2012


Stimulus Images<br />

print in colour<br />

14 house:Ed 2012


Stimulus Images<br />

print in colour<br />

15 house:Ed 2012


Stimulus Images<br />

print in colour<br />

16 house:Ed 2012


Stimulus Images<br />

print in colour<br />

17 house:Ed 2012


Stimulus Images<br />

print in colour<br />

18 house:Ed 2012

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