Body+Image+in+Little+Sister

__ Grade 11 Open ____ ( ADA 3O ) __ __ Drama Unit: Identity and Body Issues __

Anthology Drama: Adapting our own voices to    “Little Sister” by Joan MacLeod By: Stephanie Van Berkum And Gwendolyn Elliot

__ Theory __ • describe connections between role play and character development; • demonstrate an understanding of various aspects of the elements, principles, and techniques of dramatic arts; //__ Role/Character __// By the end of this course, students will: – identify and describe methods of creating, sustaining, and re-creating roles in a convincing way (e.g., methods involving research, observation, analysis,  improvisation) – describe the process of portraying a character in a script through voice, gesture, props, and the character’s relationships with other characters; – demonstrate an understanding of subtext, motivation, and status in the development of a character. //__ Elements, Principles, and Techniques __// By the end of this course, students will: – demonstrate an understanding of the techniques of voice production and projection; //__ Dramatic Forms __// By the end of this course, students will: – describe aspects of the structure of a script (e.g., setting, stage directions,  dialogue); __ Creation __ • apply appropriate techniques to create and reinterpret a variety of roles/characters in individual or collective creations; • use an ensemble approach to create and present drama; • create, adapt, and script dramatic presentations, making appropriate use of research, improvisation, workshop techniques, and rehearsal; • use technology appropriately in the presentation of drama. //__ Creating __// – create roles/characters, using a variety of appropriate techniques (e.g., writing in  role; analyzing a character’s motivation,  background, and influences); – demonstrate the ability to take responsibility, both as an individual and as a member of a group, when working in an ensemble to create a drama (e.g., generate ideas and consider others’ ideas, analyze suggestions,  make artistic decisions) and to rehearse a  drama (e.g., attend all rehearsals, be willing  to step into any role if needed); – demonstrate an understanding of the purposes and conventions of improvisation – create and revise a script for a scene, using research, improvisation, and rehearsal appropriately; – demonstrate an understanding of the purpose and conventions of rehearsal (e.g., rehearse to determine where revisions need to be made; treat others and their  work with respect). __ Analysis __ • analyze and evaluate the creation (i.e., the process) and the presentation (i.e., the product) of dramatic arts, using appropriate dramatic arts terminology; //__ Analysis and Evaluation __// – identify and analyze the skills and concepts used to create and present a drama; – explain the connections between the theatre, themselves, and society (e.g., relevance of cultural rituals in the development of  self-awareness; functions of issues-based  theatre). //__ Personal Development and __// //__ Career Preparation __// – analyze, through journal writing, discussion, and questioning, the significance of what they have gained from their artistic experiences; – explain some benefits of role play (e.g., role play can be used to resolve conflicts, create empathy, or clarify complex  issues); – explain how the communication skills they have developed through drama can be applied in a variety of contexts
 * __ Curriculum Expectations: __**
 * Overall Expectations **
 * Specific Expectations **
 * Overall Expectations **
 * Specific Expectations **
 * Overall Expectations **
 * Specific Expectations **

**__ Anthology Assignment Evaluation __** **Grade 11 Drama Unit** This project will be worth 15% of your final mark in this course. The mark will be determined by the following components:
 * __Evaluation__**


 * __Process__**

1. **Journaling** **15 marks** > recording your daily work and reflections. > This will be handed in at the end of the unit.
 * will be an ongoing process of

o Contributions, attitude, productivity, attendance, effort etc
 * 2.** **Rehearsal Process 30 marks**


 * __Product__**

o Creating an original scene based off of scenes from the play and reflecting the work done in the workshop classes
 * 3.** **Scripted Scenes written for final performance 15 marks**


 * 4.** **Individual performance in the Anthology production 20 marks**

o Organization of communities, unity and transitions in Anthology production
 * 5.** **Group Coordination 10 marks**


 * __Reflection__**


 * 6.** **Self-assessment after the presentation 10 marks**


 * Total = 100 marks (15%)**

Final Performance Evaluation Level 1 || Level 2 || Level 3 || Level 4 || Grade || Breaks focus often, lack of commitment || Breaks focus a few times, not fully committed to role || May break focus 1-3 times, commitment to role || High level of focus at all times and strong commitment to the role || **/5** || Weak character not developed with voice, gesture, props, relationships || Weakly developed character, only developed in some elements || Character is developed in almost all elements || Character is well-developed through voice, gesture, props, relationships || **/5** || Voice is in articulate and inaudible || Voice is sometimes articulate and audible || Voice is usually articulate and audible || Voice is articulate and audible as necessary || **/5** || Blocking does not make sense, not facing the right direction (i.e. back to audience) many times || Blocking is inappropriate or facing the wrong way a few times || Blocking may be inappropriate or facing the wrong way 1-3 times || Blocking is appropriate, facing the right direction for projection/ purpose || **/5** || **/10** || Distracts other characters, makes acting more difficult for co-actors || Distracts others a couple of times, supports some of the time || May break from supporting others 1 -3 times || Supports other characters 100% of the time || **/5** || Transitions are awkward and unrehearsed || Transitions are slow and unrehearsed || Transitions are mostly smooth || Transitions are smooth and well rehearsed || **/5** ||
 * Individual**
 * Marks** || || || || ||
 * Marks** || || || || ||
 * /20** ||
 * Focus** ||
 * Focus** ||
 * Character Development** ||
 * Character Development** ||
 * Voice** ||
 * Voice** ||
 * Blocking** ||
 * Blocking** ||
 * Group Marks** || || || || ||
 * Group Marks** || || || || ||
 * Unity and Support** ||
 * Unity and Support** ||
 * Transition Between Scenes** ||
 * Transition Between Scenes** ||

Evaluation for Final Written Assignment: Reflection/ Review of Performance Your assignment is to reflect on your experiences with Anthology drama over the past month. Please answer the following questions (at least one paragraph each):

1. Aside from acting, how can drama help a person develop career skills? Pick a **specific career** and give an example of how drama can be helpful and explain (i.e. public speaking skills would help...). Please provide an example of how drama skills could help a person in that career.

2. What did you think about the **acting** in the show? What do you think worked well? What do you think didn’t work well and how would you change it? Possible acting qualities to look at: Were the characters believable? Were the characters well-developed? Did the actors maintain focus? Could you hear the actors properly? How did their movement/gestures work?

3. What did you think about the overall qualities of the show? Evaluate the show based on directing, use of technology, set design, costumes... You will need to provide a general observation and specific details.

For example “I really enjoyed the set design for this show (general). The set made it seem as though the actors were really there and it I think it helped their acting skills because everything seemed more real (specific). The set design was very effective because it helped me to feel the emotions of the actors on stage (specific).”

4. What were your responsibilities on the day of the performance as well as leading up to the final performance? How did you contribute to the committees? What might you have done differently if you could start the anthology process again from the beginning?

Total: 10 Marks

Evaluation for Final Written Assignment: Rubric Level 1 || Level 2 || Level 3 || Level 4 || Grade || Career Skills || Does not give detail as to how drama can help develop career skills || Explains how drama can help develop skills for a specific career with little detail || Explains how drama can help develop skills for a specific career in some detail || Explains how drama can develop career skills for a specific career in great detail ||

/2 || Acting || Does not describe reasons for liking/disliking acting, does not provide options for improvement || Describes acting, reasons for liking/ disliking in limited detail and provides unclear option/no options || Describes acting, reasons for liking/ disliking in some detail and provides options for improvement || Describes acting, reasons for liking/ disliking in good detail and provides helpful options for improvement ||

/2 || Elements of Production || Describes only one or two elements of production in limited with limited observations without specific details || Describes one or two elements of production with limited observations and limited specific details || Describes elements of the production with a couple general observations and specific details || Describes elements of the production with many general observations and specific details ||

/3 || Aspects of Responsibility || Student does not express their participation in aspects of the process and performance || Student expresses limited participation in aspects of the process and performance || Student expresses that they participated somewhat in all aspects of the process and performance || Student expresses confidence that they participated fully in all aspects of the process and performance ||

/3 ||

Total: /10

Evaluation for Written Assignment: Scripted Scenes

Level 1 || Level 2 || Level 3 || Level 4 || Grade || Language || Language use is unrealistic or unnatural. Characters dialogue does not fit the situation. || Language use is slightly varied and realistic. The characters speaking sometimes sound natural. || Language is somewhat varied and realistic. The characters speaking sound natural. || Language is varied, interesting and realistic. The characters speaking sound natural. || /5 || Structure (Knowledge and Application) || No elements of structure are present in the script (i.e stage directions, character names, lighting and sound directions) || Some elements of structure are present in the script (i.e stage directions, character names, lighting and sound directions) || Most elements of structure are present in the script (i.e stage directions, character names, lighting and sound directions) || All elements of structure are present in the script (i.e stage directions, character names, lighting and sound directions) || /5 || Relevance to Theme || The issues raised are irrelevant to the themes discussed throughout the “Body Image” unit. || The issues raised are somewhat connected to the themes discussed throughout the “Body Image” unit. || The issues raised are mostly connected to the themes discussed throughout the “Body Image” unit. || The issues raised are deeply connected to the themes discussed throughout the “Body Image” unit. || /5  ||

Total: /15

**__ Lesson Plans (3 Weeks) __**
 * __Day One: Introduction__**
 * __Developing the theme of Teenage Hardships__**

By Sarah Soukoroff
 * **Read Poem:** Teacher reads, students join in to say “too young”
 * Kids vs. Society **

You say I'm **too young** to love, And I'm much **too young** to swear. You say I'm **too young** to cry When someone doesn't care. You say I'm **too young** to drive, You say I'm **too young** to vote, Not old enough to think. You say I'm **too young** to work And I'm much **too young** to have a say. You say I'm **too young** to argue, I'll never get my way. You say it's up to me To make the world great. How can I possibly do this If I'm **too young** to participate?


 * **Activity**: “Circle of Life” pg 11 of //Structuring Drama// with the following sections: home, family, dreams, hobbies, leisure, (typical) day à Fill it in with their own lives. The title is their name and age.
 * **Follow-up activity**: Tableau scenes which show how these different aspects can come into conflict. Bring the poem to life by adding words from the poem to the scene.
 * **Create a counter poem:** each group gets three lines and they must create a rebuttal to the original poem i.e. “I’m not too young to work, because I do it every day.” When they are ready, the teacher or volunteer will read the original poem and the groups will reply after each line with their counter version, going back and forth between the original and the improved lines


 * __Day Two: Introduction of the play – Scene One__**


 * **Activity**: Cards on the Table: Five identifiers (categories of identity) on five cards, placed in a meaningful set up. Discuss which made you feel included and which made you feel excluded. Lead discussion to have students reflect on when they do when they feel excluded. Do they try harder and put themselves out there, or do they run away? Where are the safe spaces in a school? (Hopefully they come up with Bathroom as one, if not, teaching can prompt a discussion about Bathrooms as a safe/unsafe place.)
 * **Read Scene 1** à Return to a discussion of Bathrooms: why is this an important setting?
 * **Activity**: Create a short scene which depicts the actions of the moment just before scene 1 begins (Three groups to explore the question: why are Katie, Bella and Tracy in the washroom?)
 * **Journal Question**: You walk in to the bathroom and you hear someone crying. What would you do? Think of a few possible responses.


 * __Day Three: Exploring the Background: The importance of Family__**


 * **Read Scene 3**
 * **Activity**: “Letter in a bottle” activity. Write a letter that you hope someone will read, but you’ll never get a reply à is this freeing or limiting? Explore Jay’s dialogue as he tries to get Katie’s attention. Explore Katie writing a letter to try to get her father’s attention. What is it like when someone isn’t listening to you? How do you feel? What reactions might you have? Yell? Walk away? Try harder? Write a letter?
 * **Follow up**: What is it like when family members don’t listen to each other?
 * **Listen to:** “Parents Just Don’t Understand” by Will Smith – Create short scenes at the breakfast/dinner table in which the parent is not paying attention/does not understand something serious that the child is trying to talk about. Students can explore the various reactions they discussed in the first activity.
 * **Journal:** Why does Katie keep writing these letters when she doesn’t receive replies? Do you think she expects a reply? Explore Katie’s state of mind when writing the letter to her Dad.


 * __Day Four: Juxtaposition of text and visual__**


 * **Read Scene 4**
 * **Explain juxtaposition** in terms of both the visual aspect of theatre and the theoretical aspect of literature à how does Juxtaposition affect our understanding?
 * **Create** a moment of juxtaposition (with image and words) (One person record in Journal)
 * Teacher explains How to write Script (write the script for your short scene).
 * **Journal**: explain the meaning that is expressed in your moment of juxtaposition. What does the contrast show us? Using what you learned about script writing, write a short scene that expands on your moment of juxtaposition.


 * __Day Five: Gender Issues__**


 * **Warm-up**: Walking around the room in a variety of forms –old person, young person, fashion model, body builder, athlete, toddler, mom, dad
 * **Discussion** after warm-up about experience of walking in different role, with a focus on gender expectations in each role
 * **Read scene 6**
 * Discussion of male/female gender expectations with specific reference to the title of the play, presence of Jordan in the girls washroom, knight in shining armour reference.
 * **Create** scenes which explore the idea of “A knight in shining armour” (One person record in Journal) First scene is traditional rescue, second scene is the rescue reframed in a different context ie. Woman saving woman, woman saving man, man carries no weapon etc.
 * **Journal**: Pick a character and discuss how that character could be saved (Hint: it most likely isn’t the tradition way.)


 * __Day Six: Gender Issues Part 2 and Monologues__**


 * **Read scene 8**
 * Talk about meaning of title.
 * Introduce how to write a monologue.
 * Bring in photos of a variety of different students. Create monologue for this characters as if they go to the same school and also deal with similar issues. (Record in Journal)
 * **Journal**: How does one avoid criticism for acting the part of your gender? Is it possible to avoid gender criticism entirely?

__ Paint Brush __ By Lee Ezell
 * __Day Seven: “Faking it” and the truth__**
 * **Read scene 9**
 * **Discuss:** Importance of the date being Halloween à what is the difference between lying and pretending?
 * What do we know, what do we want to know and who can we ask? à hot seating characters to uncover the lies.
 * **__Recreate__** the scene to have __one__ character speaks only the truth. (One person record in Journal)
 * **Journal:** Write in role as Jordan or Tracey: How did it feel to have a boy in the girls washroom taking charge of Katie’s situation.
 * __Day Eight: “Faking it” and the truth Part 2__**
 * **Read scene 10**

I keep my paint brush with me Wherever I may go, In case I need to cover up So the real me doesn't show. I'm so afraid to show you me, Afraid of what you'll do--that You might laugh or say mean things. I'm afraid I might lose you. I'd like to remove all my paint coats To show you the real, true me, But I want you to try and understand, I need you to accept what you see. So if you'll be patient and close your eyes, I'll strip off all my coats real slow. Please understand how much it hurts To let the real me show. Now my coats are all stripped off. I feel naked, bare and cold, And if you still love me with all that you see, You are my friend, pure as gold. I need to save my paint brush, though, And hold it in my hand, I want to keep it handy In case someone doesn't understand. So please protect me, my dear friend And thanks for loving me true, But please let me keep my paint brush with me Until I love me, too.
 * **Read** aloud. Small groups will be assigned a section of the poem. They have to insert two lines from the play into the poem. Come back together and read the poem again.
 * Choose your favourite line and write it down. Then restructure the play as a class. Standing in a circle students read their line and the class decides if they should stay where they are or move towards the beginning or end of the poem.
 * **Journal**: If this poem were put into the Final Performance, how do you think it would affect the audience?
 * __Day Nine: Gender and Juxtaposition__**


 * In small groups given objects related to body image: lipstick, tooth whitener, fashion ads, Axe product, protein shake/bar, perfume/cologne, diet pills/diuretic/laxative, a mirror, “my diet is on/off” heart, cup of rice
 * Have students discuss the meaning
 * Give different contexts to affect the meanings: For example, what if you found the diet pills in: your friend’s bag? Your parent’s bag?
 * Back in the large group, each person shares one word that is connected to that item.
 * **Read Scene 11** (until Tracey says “The only people who are thrilled with their appearance at all times are guys” STOP THERE
 * **Role on the wall** – expectations of females and males.
 * In small groups write a scene that “juxtaposes” this line. They may use the existing characters or create new ones. (One person record in Journal)
 * **Journal**: What expectations of gender do you feel are unfair (for both males and females)?


 * __Day 10: Hospitals__**
 * **Read** scene 12
 * Create Minimalist dialogue scenes about Jay’s visit to Katie
 * **Journal**: Using Katie’s voice, write a letter to her dad about her thoughts on her hospital stay? Does she like the hospital? Does she feel like she is getting better?


 * __Day 11: Fears and Desires__**
 * **Read** Scenes 13 and 14
 * **Think, pair, share**: How can desires be good or bad? How can fears be good or bad?
 * In 5 groups -one group for each character- discuss the biggest desires that that character has and create a list. Create a tableau for fear and a tableau for desire. When presenting to the class, the audience will have the chance to touch each performer on the shoulder to hear their one line describing the feeling of the tableau.
 * **Journal**: How do you see the Character’s fears affecting their actions in the play so far?


 * __Day 12: The only good thing about you__**
 * **Read** Scene 16 up to “They’re jolly.” In small groups create The Moment Before. Explore who would say that to Bella and why. (One person record in Journal)
 * **Choral reading** activity. Split class in to 5 groups, one for each character. Assign each group gets a section of the poem as well as my blood is red” and “I feel”. They will fill in the lines, based on information about their character. Read it again as a whole.

From “Skin” By Dennis Foon

I am five foot six inches tall. (Change to match) I am a teacher. (Change to match) I have two arms. Two legs. Two feet. Two ears. Two eyes. One nose. One mouth. Ten fingers. Ten toes. I can see. I can hear. I can smell. I can touch. My blood is red. My blood is red. My blood is red. My blood is red. I breathe. I think. I feel. I feel. I feel. I feel.


 * __Day 13:__**
 * **Read** scenes 18 - 19
 * **Create** a list of words in two columns. Column one is a list of words/names males would like to be called and column two is a list of names males would not like to be called (ex. Tracey calls Jordan a dork).
 * Using the monologue at the end of scene 19, create a dialogue between Jordan and another character as if he were speaking these words //to// someone specific. Explore Jordan’s feelings. The new character will be created using the circle of life activity.


 * __Day 14: Control__**
 * **Read** Scenes 21 -23
 * Discussion of specific characters in the play. As a large group we will discuss each character in terms of his/her control issues, desires, losses.
 * Minimal dialogue scenes: In pairs, students will develop minimal dialogue scenes from a script. Students will be given prompts for the specific control struggle they are trying to portray (there will be a few options and switches between characters). Next, students will be given a line from the play that they must work in to a minimal dialogue scene such as, Katie: “You know, having a little control in your life isn’t a bad thing.” Or Bella: “I don’t have any control.”
 * **Journal:** Using either Bella’s or Katie’s voice, write a letter to an item of food.


 * __Day 15:Celebration of self__**
 * **Read** scene 24.
 * Return to the poem from day 12. This time, in role as yourself, complete the poem by turning a positive spin on the lines to celebrate an item of yourself. If the student is uncomfortable writing as self, give the option to write as one of the characters, or a mixture of self and character.
 * **Committees** will be set up for: costuming, lighting, sound, set, props, odd jobs, writing scripts of scenes.


 * Committees will be used to distribute production jobs to the students. This means that when students are not working on scenes, they have other useful tasks to be doing. Each committee will have a leader or leaders who report to the teacher and keep record of daily work (task completed, remaining tasks, who did what) in a folder.

The first three weeks function as a brainstorming process in which the students are encouraged to explore the issues of the text as well as the characters thoughts and emotions. Each day the students will be writing in a journal to answer questions or record the process work done in class. They will be using their own writing from either the daily journal entries, or other creative works done along the way to create the script for the final performance during week four. Images from the process can be used in the play as projected images on the stage. The recreated poems can also be included in the final performance. And, most importantly of all, the group must decide on an order that will allow the drama and the moral to build to a fantastic finish. (Note: depending on the class the teacher might have to make all these decisions on their own, or might give the students free reign. The more that the students are allowed to make the decisions the more they will feel like it is their own creation and this will promote a sense of pride in the performance.)
 * __Week 4__**__:__

During week 4 there will be a large focus on “**Character work**”, in a way that will try to help the students deepen their realistic and meaningful characters. One entire lesson will be dedicated to deepening the students understanding of their characters, which they will record in their jounrals. The following was taken from “Basic Drama Projects” and can be made into a handout for the class: Motivation and Conflict: In real life people often do and say things for no apparent reason. A character in a play, however, needs a specific reason, or **motivation,** for doing or saying anything. Motivation determines your character’s __objectives__. Whatever is standing in the way of your character’s objectives is an **obstacle**. This is the essence of **conflict,** which in turn is the basis of drama. The outcome of a conflict is the result of the steps the character takes to overcome their obstacles. What the character may gain or lose as a result of the outcome are the **stakes**. The higher the stakes are in the play, the greater the character’s motivation; the more powerful the conflict, the more important the outcome. __The Character Inside and Out__ To find your way into the mind and body of the character, you must know the role inside and out. That means you must understand both the character’s internal and external traits. To determine a character’s **internal traits**, challenge yourself to discover what he or she is like inside. Find out the character’s background – that is his or her family circumstances, environment, occupation, level of education, hobbies, and so on – and his or her emotional reactions to all of these circumstances. You can break internal traits into three basic categories: 1. **Mental Characteristics:** Is the character intelligent, clever, dull, slow, or average? 2. **Spiritual Qualities:** What are the character’s ideals, ethical code, and beliefs? What is his of her attitude towards other people and towards life in general? 3. **Emotional Characteristics:** Is the character confident, outgoing, and happy or sullen, confused, nervous, cynical and timid? What are his of her likes and dislikes? How does he or she respond to others? (One good technique when analyzing emotional characteristics is to ask yourself how a character’s temperament is similar to and different from your own.) Answering all these questions should give you a good idea of your character’s personality. Now it’s time to get even more specific. You will have to determine your character’s motivating desires withint the play or scene. In other words, what does your character //want//? You may have to do the additional work of imagining the circumstances that led to the events of the play or scene. A character’s **external traits** have to do with outward appearance and what that appearance says about him or her. Here are from external traits to think about:
 * __Developing the Character Lesson__**
 * 1) **Posture**: Does the way the character sits and stands suggest confidence, timidity, awkwardness, or grace?
 * 2) **Movement and Gestures:** Does the character’s movement and gait reveal poise, nervousness, weakness, or strength? What does the character’s movement reveal about his or her age, health or general attitude?
 * 3) **Mannerism:** Does the character have any tics or little habits that provide keys to his or her personality? Examples might be nail biting, gum chewing, head scratching, or table tapping.
 * 4) **Voice:** Does the character have a specific regional dialect or any vocal mannerisms?
 * 5) **Mode of dress:** Is the character’s appearance neat, casual, prim, or sloppy? Are the clothes clean or dirty? Are the in good taste?

Record the answers to all the questions above in your journals. Here is a list of other activities the students can use to deepen the understanding of their characters:


 * Creating the basic info: name, age, gender, birthday, location, parents, favourites, dislikes etc
 * I am from…
 * Walking (practices different styles of holding your body and walking. What kinds of things affect the way you walk? i.e age, emotional state, physical shape)
 * Creating (in your mind) your character’s “Safe space” what does it look like, how does it make you feel? (this could be important for grounding yourself later)
 * Improv work between characters. The created characters will be thrown into situations and expected to react off one another, allowing the students to come up with new sides of their character they might not have previously considered.
 * Conflict: what does your character want and what is getting in their way?
 * Relationships: who is your characters favourite/least favourite person? Who do they need in their daily lives and who do they avoid?
 * Using Michael Shurtleff’s guideposts answer questions about your character, speaking as your character.

By the day 23 the good copy of the script for the performance must be finished. This will be distributed to each student and the class will begin to work through the scenes in their proper order. Parts in the play will be assigned, and the students will begin to memorize their lines. By the end of week 5 all costumes must be finalized, as in approved by both the costuming committee and the teacher. Each day of Week five will be split into two parts: half of the class will be open to students who need time to memorize and work in their groups, and the other half of each class will be filled with rehearsal techniques, lead by the teacher. Below is a list of techniques used to enhance rehearsal times:
 * __Week 5:__**

Body stretches, pretending to scrub your body Roll downs Face massage, face exercises Tongue twisters Humming Blow through lips, roll tongue making noise Developing a different walk for your character(s): experimenting with different postures, walks, leading with different body parts, develop physical habits Read-through – just reading lines in order without pauses Writing scenes out by hand many times Developing actions to fit the words as a physical reminder of what to say Edit lines to be more natural, more easily memorized Developing different ways of speaking: different pace, volume, tone, intonation -reading lines from script -reading nonsense lines -repeating lines said by a leader In scenes, highlight lines that should be points of high energy or low energy, loud or quiet Reading the scene like a robot Reading the scene in one emotion the whole time, or switching emotions based on teacher prompts Extra tongue twisters Throat massage, humming Practicing relaxing, not tensing while projecting voice Place greater distances between students to give them a greater visual need to project Allow “free blocking” so students can move freely through the scene, discourage “talking heads” Lead students through more structured blocking, taking suggestions from the class Help students to develop blocking based on character motivation and audience needs Experiment with different levels Rearrange set to reflect tension in scene Placing students at different distances from one another Developing different physicality: walks, habits, posture Try different costume pieces, use of props Exploring different ways of breathing Run scenes allowing for in-character improv As you say each line you must find a way to touch the other person, in a way appropriate to the line. Helps you find ways to make the lines mean something to the person you are speaking to. Stand facing a partner with your hands out, under the partners outstretched hands. As you say your lines, try to slap your partners hands on any important lines or lines which change emotion. The partner is to try and avoid the slap. Helps put energy onto each line. Stand facing a partner with a rope held between you. Your objective is to win the tug-owar while saying your lines. The partner also wants to win. Helps you overcome an obstacle, while focusing on your objective. As you speak each line you must pause at the end and say what is actually being done as if in brackets (you know, what is not actually said, but is understood). Can really help you understand the subtext (and find pauses). If it is a sad scene, then play it as a stand up comedian trying to get laughs. Find the opposite of the scene to play - or an opposite in your character to play. Can help open up character exploration that has gone stale and seems clichéd. On each beat (or change in tone) call out the verb that applies. Refer to the Actable Verbs handout for a huge list of possibilities. Helps to understand objectives in a script. Play the scene as a melodrama - way over the top in expression and movement. The bigger the better. Helps to unblock self conscious movements. Play the scene without moving at all. Just look at the audience - don't use your hands or move your feet. Don't even move your weight from one hip to the other. Helps you to become aware fidgety behavior. Imagine your character is an animal - what would it be? Keep those animal characteristics foremost in your mind as you play the scene. What does it do to your voice, movement, contact with other people? Helps you visualize other aspects to the character. Play the entire scene without words. Make it very clear what the feeling is - what is the objective? Don't try to use charades for words. Express what it is saying with your body. Very interesting to watch, the actor must be very clear in their objectives. Working through the scene like it is a game of tag Standing shoulder to shoulder (if students need to hold scripts), or facing one another with palms pressed together to express power struggle The stage is physically split in to two or more emotions. Actors physically cross the line from one emotion to another when they feel it is necessary. Work through scenes as ridiculous characters – cowboys, robots, animals, astronauts, supermodels etc. and decide if any elements of those scenes should be incorporated permanently Students work through the scenes as if they are puppets. Another student (a character from the scene or an extra student, depending on the scene) is the puppet master One character in the scene is allowed to move, but all others are frozen, or vice-versa one character is frozen and all others are allowed to move Run scenes as slowly or as quickly as possible Work through scenes with actors only allowed to move while speaking White Elephant: place an object, character or thing in the scene which creates obvious tension but that students may not directly acknowledge Use different types of music to rehearse scenes Placing students that are not in the scene on stage - as physical barriers, to repeat lines, to get in the way, to mirror actor’s movements – to develop tension, emotion, points of focus Invite members of the school/community to drop in informally and view rehearsals so students get used to having an audience and to get feedback Read every line as if it is a question The end of week six is the final performance. This means that the majority of week six is taken up with dress rehearsals, Cue to Cue and other last minutes finishing touches. By now all students should have their lines completely memorized and they should know their entrances and exits. There should be two final performances, one during the school hours and one after school to which parents can come. One of our concerns with using //Little Sister// is the portrayal of Bella and Katie. We did not want to make students uncomfortable by picking the thinnest girl to play Katie or by picking an overweight girl to play Bella. We want to be sure that students understand that eating disorders have to deal with perceived appearance, not actual appearance. It might be more effective to have Bella and Katie played by students who do not physically fit the role. Above all, we want students to be safe and free from hurtful remarks or stereotypes that could be expressed by their classmates and potentially damaging. There may also be problems in casting the roles of Tracey, Jay and Jordan because they are also characters deeply connected to their physical appearances. Casting needs to happen delicately so that all students are comfortable with their roles and that other classmates are aware of possible issues.
 * Daily Warm-up (10 minutes): **
 * Rehearsal Techniques: **
 * Movement: **
 * Memorization techniques: **
 * Voice: **
 * Reading Techniques: **
 * Projection/articulation: **
 * Blocking: **
 * Developing character in scenes: **
 * Taken from “Rehearsal Strategies” **
 * Touch **
 * Slap **
 * Tug-o-War **
 * Brackets **
 * Opposites **
 * Verb It **
 * Melodrama **
 * Absolutely Still **
 * Animals **
 * Mime **
 * Games: **
 * Miscellaneous Techniques: **
 * __Week 6:__**
 * Additional notes:**

__ Bibliography/ Reference Sources __ MacLeod, Joan. //The Hope Slide/Little Sister//. Rev. ed. New Baskerville: Hignell Printing, Ltd., 1999. 53-127. Print. Ezell, Lee. "Paint Brush." //Amanda's Quotes and Poetry//. N.p., December 2002. Web. 12 Mar 2010. . Soukoroff, Sarah. "Kids vs. Society ." //Amanda's Quotes and Poetry//. N.p., December 2002. Web. 26 Mar 2010. . Foon, Denise. //Skin//. Toronto: Playwrights Co-op, 1986. Print. Shurtleff, Michael. __Audition.__ New York, NY: Bantam, 1980.