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Lesson 8 – The Lost Boys Teaching Focus: In this lesson, students extend their understanding of the text by role playing as the lost boys. They will use information from the text to build and sustain belief in character. Curriculum Expectations Space Materials and Prep. Drama B1.1 (engage actively in drama exploration and role play…) Drama B1.2 (demonstrate an understanding of the element of role…) Drama B1.3 (plan and shape the direction of the drama…) Drama B2.1 (express personal responses and make connections…) Oral Communication 1.2 (Active Listening Strategies) Oral Communication 1.4 (Demonstrating understanding) Oral Communication 1.8 (Point of View) Oral Communication 2.6 (Non-Verbal Cues) Writing 1.2 (Developing Ideas) Writing 2.2 (Voice) Writing 2.3 (Word Choice) Wide open space (move desks aside) Text p. 18 (description of the Never Land and the Lost Boys) to read aloud Markers Classroom Activities: Read aloud Sculpture Garden Journal reflection Reflect personal discoveries in their writing Lesson Read the opening description of the Never Land from p.18 of the script. Put students in pairs. Partner A is the sculptor, partner B is the clay. The sculptors must mold their clay into forms/statues resembling the lost boys. Once the first set of sculptors are happy with their creations, have the sculptors walk around to view the other sculptures in the sculpture gallery and guess who they are. The ‘statues’ may also guess who they were once they are released. Students then switch roles and repeat. This should be a silent activity. Reinforce ‘making your partner look good’. If students are squeamish about being touched, this activity can be modified by having the sculptor ‘model’ the pose for the ‘clay’ and give non-verbal cues to coach the clay into position. Have students write a ‘day in the life’ entry in their logs from the POV of one of the lost boys. What would they do during a day in the Never Land. Peter Pan Study Guide 21 Stratford Shakespeare Festival 2010
Lesson Extension Have the students invent a diary for one of the characters. They should make it look as though it belonged to that character, and do at least five entries as if they were that person. Peter Pan Study Guide 22 Stratford Shakespeare Festival 2010
Page 1 and 2: y J. M. Barrie From left: Tom McCam
Page 3 and 4: PETER PAN Integrated Language and A
Page 5 and 6: The Playwright: J.M. Barrie James M
Page 7 and 8: Lesson 1 - Logs Teaching Focus: Dia
Page 9 and 10: Lesson 2 - Victorian England Teachi
Page 11 and 12: Lesson 3 - Telling the Story Teachi
Page 13 and 14: Stage Directions Handout up stage r
Page 15 and 16: Lesson 4 - Cast Party Teaching Focu
Page 17 and 18: PETER PAN - Character Cards Nana N
Page 19 and 20: Lesson 5 - Me and My Shadow Teachin
Page 21 and 22: Lesson 6 - Fairies Teaching Focus:
Page 23: Lesson 7 - The Never Land (Art) Tea
Page 27 and 28: Direct students to do a T-chart or
Page 29 and 30: couple of different ways (whisper i
Page 31 and 32: Lesson 11 - Pirates (Dance) Teachin
Page 33 and 34: Lesson 12 - Mothers Teaching Focus:
Page 35 and 36: Lesson 13 - The Jolly Roger Teachin
Page 37 and 38: The Ball Game Handout Objectives Ti
Page 39 and 40: Lesson 14 - Production Research Tea
Page 41 and 42: Lesson 16 - Critical Responses Teac
Page 43 and 44: Log Evaluation Rubric Expectation E
Page 45 and 46: igger because you are so small Does
Page 47 and 48: Days Three & Four (1 hour each day)
Page 49 and 50: Hook’s Rant (Act 5) HOOK: How sti
Page 51: Drama and Drama Assessment: Booth,

From left - Stratford Festival

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