DISCOVER THE STAGE - Sydney Opera House
DISCOVER THE STAGE - Sydney Opera House
DISCOVER THE STAGE - Sydney Opera House
You also want an ePaper? Increase the reach of your titles
YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.
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