Environment+and+Sustainability

This lesson is designed to launch students into their anthology assignment. It will involve the whole class. The lesson is designed to be executed at the end of the term. Therefore, prior knowledge of drama structures will be accessed. Students will be required to remember what makes a good piece of choral reading, and interesting movement piece. Assessment will be comprised of group process, as well as a student written reflection, and peer evaluation. Teachers should allow for at least 3 full classes of rehearsal before expecting students to comfortably perform.
 * The Drama of The Environment **
 * Lesson One- The Giving Tree **
 * ** Expectations ** || ** Strategies ** || ** Teacher Notes ** ||
 * || To warm up the class, tell every student to find their own place in the room. If the room allows, have them lie down, and close their eyes. Tell them to picture a tree, any tree.

Each student must present with their bodies, a year in the life of the tree they picture.

|| Remind them that every tree has a life cycle. Not only over the course of their life, but over the course of a year as well. Every year, the tree blossoms, and sheds it’s foliage, or goes dormant.

Appropriate music can really help set the tone. Use your discretion. Possible example: Vivaldi Concerto for strings.

Remind students to take their time, and to focus on what they are doing, not those around them. || -interpret a variety of global sources. -demonstrate an understanding of drama as a collaborative art form.
 * -demonstrate an understanding of focus and concentration in playing a role. p25. || Once students have finished this task, address any immediate feedback. || “Were you able to ignore distractions? What allowed you or prevented you from fully engaging?” ||
 * || Next, have students sit comfortably. Tell them you are going to read them a story, “The Giving Tree” By Shel Silverstein. Tell students to listen carefully, as the story will soon be in their hands. Read the story. || Take your time with the reading. ||
 * -perform in the classroom a variety of dramatic presentations, using a range of forms.

-develop and communicate a sense of connection with the local and global environment. -consider different points of view or perspectives on the environment and the role of human beings in relation to it. (Standards for Environmental Education in the Environment, 2008, Ontario.) || Upon completion of the story, distribute copies to everyone, along with the assignment (attached below) || Because this assignment calls for complete class participation, it may be a good idea to have students decide who will participate in the movement portion, and who will do the choral reading. Giving them the choice is best, but groups should be approximately equally sized. If the class is unable to work in such large groups, consider splitting them into smaller ones. Each smaller group could be given a portion of the story to present. Also, if any students have an affinity for directing, allow them to take on the role of facilitator between the two groups, but be sure to remind them this is a collaborative process. -Be sure to have both groups watch each other’s progress to help ease the eventual coming together. Also, have them provide constructive feedback to each other. ||

** The Giving Tree Assignment ** This assignment is designed to be incorporated into the final presentation of a Class Anthology on the Environment and Sustainability. Using the text **The Giving Tree** by Shel Silverstein, create a combination Choral Reading and Movement piece interpreting the story. The class should be divided into two halves; one will be responsible for the Choral reading, while the other will create the movement aspect. At the end of the rehearsal period, the groups will come together to coordinate their pieces into one cohesive presentation.
 * Modifications for ELL or Special Needs: ** ELL learners may feel more comfortable in the movement portion of the performance. Model good reading of the text before forcing anyone to read aloud on their own. Also consider providing the ELL with a copy of The Giving Tree a day or two before the class so they can become familiar with it on their own before being expected to relate to it in class. Further, provide them with one of many internet links to find audio recordings of the story. For students with Special Needs, choice is the key. Allow them to decide how they would like to participate. Perhaps they may need some visuals to help them understand the nature of the story. For Example, providing them with a picture of a full grown tree, then a tree with no leaves, then a stump, could help them visualize the selfless nature of The Giving Tree. If the Special Needs learner is unable or unwilling to participate in the performance, allow them to interpret the story with a piece of creative writing, or create other visual interpretations. (eg. Paintings, drawings etc.) These could be displayed around the space at the time of the performance. If the learner struggles with the vague nature of the assignment, consider defining their role more rigidly. For example, you could add them into the performance when the decision making process has progressed to the point where it is easy to give them their specific stage directions, or vocal role. Also be prepared to allow for and accommodate any assistive technologies.

Assessment will be based on group process, as well as a self written reflection on the process, and a peer evaluation.

CHORAL READING:

Present **The Giving Tree** using all the elements of Choral Reading:

Tempo- A variety of speeds, used to enhance the mood and feeling of the performance. Volume- Level of volume should vary depending on the demands of the script. Colour- Voices should convey the mood of the character, and the scene. Key words and phrases should be emphasized. Rhythm- Play with the beat and pacing of the reading. Use repetition, chanting, and echoing. Use body percussion (clapping, stomping, tongue clicking etc.) Voice- A variety of voice combinations (solo, duo, trio, whole group, etc.)

MOVEMENT:

Working together as a group, create the image of the Giving Tree on stage. Using your bodies, show the gradual deterioration of the tree. Remember that when working closely with others, to always be respectful of their personal space.

**The Giving Tree- Rubric** || -Occasional variance in speed. -Hard to tell when or why speed has changed. || -Good speed changes. -Speed changes contribute to the mood of the scene. || -Large variety of speeds. -Moods are greatly altered by the tempo of the reading. ||  || -Difficult to understand. || -Some sections are too quiet to be heard. -Some sections are mumbled. || -Volume is acceptable. Most lines are easily heard. -Lines are mostly read clearly. || -Volume carries to the whole audience. -Every character can be clearly understood. ||  || -No feeling conveyed. || -Some characters display emotion. -Slight variety of line readings. || -Most characters portray emotion. -Variety of moods experienced. || -Full variety of emotions displayed. -Characters are believable and truthful. ||  || -No added sounds or atmosphere. || -Some changes in patterns. -Little echoing or repetition. -Little sound is added. || -Good change of pace throughout. -Patterns and sounds are used effectively. || -Surprising patterns and rhythms. -Diverse and interesting use of echoing, repetition and atmospheric sound. ||  || -Vocal combinations are used sporadically and ineffectively. || -Variety of vocal combinations. -Different vocal combinations are used effectively. || -All manner of vocal combinations are used. -Vocal combinations are engaging and surprising to the audience. ||  || -Focus is lost throughout. || -Students have practiced, and some details are in place. -Focus is mostly consistent. || -Students clearly used practice time well. -The reading is well rehearsed and tight. -Focus is consistent. || -Excellent use of practice time. -Reading is focused and consistent. -Actors are engaged and alive. ||  || ** By Shel Silverstein **
 * || **__ Level 1 __** || **__ Level 2 __** || **__ Level 3 __** || **__ Level 4 __** || **__ Mark __** ||
 * TEMPO || -One speed at all times.
 * VOLUME AND CLARITY || -Difficult to hear.
 * COLOUR AND EMOTION || -Very monotonous.
 * RHYTHM || -No change to the pattern of reading.
 * VOICE || -No changes to vocal combinations. || -Little change in vocal combinations.
 * PREPAREDNESS || -Obvious lack of preparation.
 * COMMENTS: **
 * The Giving Tree **

Once there was a tree.... and she loved a little boy. And everyday the boy would come and he would gather her leaves and make them into crowns and play king of the forest. He would climb up her trunk and swing from her branches and eat apples. And they would play hide-and-go-seek. And when he was tired, he would sleep in her shade. And the boy loved the tree.... very much. And the tree was happy. But time went by. And the boy grew older. And the tree was often alone. Then one day the boy came to the tree and the tree said, "Come, Boy, come and climb up my trunk and swing from my branches and eat apples and play in my shade and be happy." "I am too big to climb and play" said the boy. "I want to buy things and have fun. I want some money?" "I'm sorry," said the tree, "but I have no money. I have only leaves and apples. Take my apples, Boy, and sell them in the city. Then you will have money and you will be happy." And so the boy climbed up the tree and gathered her apples and carried them away. And the tree was happy. But the boy stayed away for a long time.... and the tree was sad. And then one day the boy came back and the tree shook with joy and she said, "Come, Boy, climb up my trunk and swing from my branches and be happy."

"I am too busy to climb trees," said the boy. "I want a house to keep me warm," he said. "I want a wife and I want children, and so I need a house. Can you give me a house ?" " I have no house," said the tree. "The forest is my house, but you may cut off my branches and build a house. Then you will be happy."

And so the boy cut off her branches and carried them away to build his house. And the tree was happy. But the boy stayed away for a long time. And when he came back, the tree was so happy she could hardly speak. "Come, Boy," she whispered, "come and play." "I am too old and sad to play," said the boy. "I want a boat that will take me far away from here. Can you give me a boat?" "Cut down my trunk and make a boat," said the tree. "Then you can sail away... and be happy." And so the boy cut down her trunk and made a boat and sailed away. And the tree was happy ... but not really.

And after a long time the boy came back again. "I am sorry, Boy," said the tree," but I have nothing left to give you - My apples are gone." "My teeth are too weak for apples," said the boy. "My branches are gone," said the tree. " You cannot swing on them - " "I am too old to swing on branches," said the boy. "My trunk is gone, " said the tree. "You cannot climb - " "I am too tired to climb" said the boy. "I am sorry," sighed the tree. "I wish that I could give you something.... but I have nothing left. I am just an old stump. I am sorry...." "I don't need very much now," said the boy. "just a quiet place to sit and rest. I am very tired." "Well," said the tree, straightening herself up as much as she could, "well, an old stump is good for sitting and resting Come, Boy, sit down. Sit down and rest." And the boy did. And the tree was happy.

**The Drama of The Environment**
 * Lesson 2- Drought**

This lesson is designed to get students thinking about the many ways a single environmental issue can affect a whole group of people in a variety of ways. Through interpretation and exploration of real life source material, students will walk in the shoes of a community struggling without one of the most essential human needs, water.

SOURCE MATERIAL:

//“The drought in India has become so severe that people have begun literally fighting over water in many regions of the country, even murdering each other over the precious substance. Northern India is in the grips of a drought so severe that in Bhopal, the City of Lakes, the government has been forced to ration water use to half an hour once per three days. Nearly two million people live in this massive city, where the 1,000-year old artificial Upper Lake has shrunk from 38 square kilometers (15 square miles) to a mere five square kilometers (two square miles). Almost 100,000 Bhopal residents live without// [|//water//] //hookups of their own, relying on water tankers that// [|//travel//] //throughout the city. Fights are common when the tankers arrive in a slum, with people jostling each other for the best chance at the limited// [|//water supply//]//. In unregistered slums, water tankers never arrive and residents may have to hike two kilometers (one mile) or more to the nearest pumping stations. It was in one such unregistered slum that the Malviya family drilled a hole into a municipal water pipe, and traveled there shortly before the water began flowing one night, to collect the liquid in whatever containers they could get their hands on. The family was confronted by a group of neighbors, including a local man named Dinu who accused them of blocking the pipe and cutting off water farther down the hill. Dinu slapped Gyarasi Malviya, and when her son Raju tried to interfere, one of the people gathered drew a sword. In the ensuing clash, all the Malviyas were hacked to death. "We were too afraid to do anything," said a woman who identified herself as Shanno. "Dinu didn't want them to take any water. He wanted it for himself. " The situation in Bhopal and across northern// [|//India//] //may offer a glimpse of the world's future. The United Nations has warned that by 2050, four billion people will find themselves living in areas with an insufficient water supply.”//

[|//http://www.NaturalNews.com/027490_water_wars_India.html//] //November 14th, 2009//

Once the article has been read, put students in small groups, and have them re-tell the story to each other, trying to remember as much detail as possible. || Depending on your class, it may be necessary to emphasize the seriousness of the situation. This story //actually// //happened//, this year.
 * **Expectations** || **Strategies** || **Teacher Notes** ||
 * -identify primary and secondary sources of information and their functions. || Have students start class in a circle. Tell them that during today’s class, every student will be participating in a group improv based on a real life occurrence, taken from a primary source, a news website. Remind them to listen well. Either distribute copies of the text, or project it on an overhead, as you read the story aloud.

If necessary, remind the students how privileged North American people are. Emphasize the idea that none of us even knows what it means to be truly thirsty. ||
 * || Have students gather around the chalkboard, whiteboard, or chart paper. As a class, generate a list of people who could have been present at the moment of confrontation between the Malviya family, and the rest of the neighbors. || The list can include real people mentioned in the story, or people who could have conceivably been present. The list should be exhaustive, and include enough people for everyone in the class to assume one role. Character identities can be very general (eg. Farmer, teacher, peasant, artist etc.) ||
 * || Next, ask for volunteers who wish to take on the role of the Malviya family.

Ask them to step into the hallway. The group should consist of 3-5 students. || As teacher, it is your responsibility to know which students in your class can do this effectively. If you are not comfortable asking for volunteers, select the individuals to play the Malviya family. The works requires commitment to seriousness and a willingness to stay in role, at a moment of confrontation. || -create an original or adapted dramatic presentation, using a variety of strategies. (e.g., research, improvisation, workshop techniques.) -demonstrate an understanding of subtext, motivation, and status in the development of a character. || Begin the group improv, by bringing the Malviya family back into the room. || As teacher, it is up to you to decide the role you will play. If you feel that the Malviya family will not be able to defend themselves against the Townspeople, take on a role in the family. Or, consider being an independent moderator, or ‘judge’ to help facilitate everyone having a say. It may also be a good idea to merge into the Townspeople at some point, in order to raise issues that have not yet been mentioned. Being a member of the Townspeople could be particularly powerful if you defend the Malviya’s by placing blame elsewhere. (For example, ‘we cannot blame the Malviya family for the lack of rain, or the record breaking heat.’ Or, ‘we are all guilty of wasting water when times were good, how can we now blame them?’ || -develop a general understanding of the kinds of interactions that occur within and between human and natural systems. -develop and articulate their own perspective on human-natural interactions and environmental issues. (Standards for Environmental Education in the Environment, 2008, Ontario.) || It will most likely be necessary to have a class discussion after the improv. Ask students if they were able to stay in role the whole time, and what were the challenges associated with that task. Inquire to see if anyone had changed his or her perspective or sympathies by the end of the argument. Did all the Townspeople agree with the resolution? If not, what prevented you from speaking up? || This debrief is necessary to diffuse the tension in the room, and to encourage students to think about all the issues raised. ||
 * -demonstrate the ability to take responsibility, both as an individual and as a member of a group, when working in a theatre ensemble. (e.g., make artistic decisions, give support to others.) || Have the remaining students in the class (‘herein called the Townspeople.) spend the next ten minutes discussing the story, and all its related issues. This discussion should be student led. By the end of the discussion, each student must decide for themselves who in the town they will become. They needn’t make it clear to anyone else, though the group should know who will be Dinu, the leader of the Townspeople. || During the conference with each separate group, it is a good idea to remind them that the specific location where this story occurs is irrelevant. We are examining global issues, and the human motivations, emotions, and actions that surround them. Therefore, it is highly inappropriate to play to any stereotypes, or put on any affectations, or accents. ||
 * || Explain to the students in the hall (herein called the “Malviya’s”) that they will soon be facing their entire town, extremely angry at their decision to drill into the pipe. It will be there job to justify their actions, or propose a solution. Have them discuss their approach for ten minutes. ||  ||
 * || Return to the Townspeople, and tell them we are going to recreate the moment they discover the Malviya family at the municipal pipe. They are to confront them, and make them justify their case. By the end of the group role-play, it is up to the Townspeople to decide the fate of the Malviya family. || In the news story, the Malviya family tragically lost their life. This may be too intense or upsetting an outcome for your class. Consider ruling that out, and having the Townspeople decide whether the Malviya’s may return to town, or will be banished. ||
 * -create the inner and outer life of a character, using a variety of strategies. (e.g., improvisation, textual analysis)
 * || Allow the improv to continue until a resolution has been made. || Be sure that students stay in role, and don’t receive or deliver arguments based on issues outside of the role-play. ||
 * -develop a sense of local and global citizenship.
 * || To finish, each student must write a piece of text in the voice of the role they played. The writing could be in the form of a diary entry, or a letter to a friend about the experience their town had, and what it felt like. Some students could also write a letter to the government, or another person in power, to tell them the horrible experience their town had. ||  ||
 * || These pieces of writing will be incorporated into the final anthology performance. || If the improv netted a particularly powerful or applicable moment, consider trying to recreate that for the anthology as well. ||
 * || Assessment of participation in the Role Playing can be found in the attached appendix. ||  ||


 * Modifications for ELL or Special Needs:** ELL students may benefit from having a copy of the text in hand. It may also be useful to provide the ELL student with a copy of the text a day or so before the class, should they wish to read it over beforehand. Be prepared to help clarify details of the story. Students with problems related to oral listening skills should also be provided with a copy of the text, and perhaps extra time to comprehend it. Students with problems related to writing skills may struggle with the Writing in Role activity towards the end. Assist them by providing a list of questions to respond to. (eg. How did it feel to be in such a conflict? Who did you feel sorry for? If you could repeat the conflict, what would you change? Did you change your perspective by the end of the activity?) Students with difficulties related to self-advocacy may benefit from being paired up with someone during the group improv. Their partner can act as their mouthpiece to vocalize ideas or suggestions.) Other students prone to challenges with oral communication can submit ideas, questions or challenges to their opposing improv group on paper.

**Assessment and Evaluation- Role Play** **The Drama of the Environment**
 * Student Name: || Level 4 || Level 3 || Level 2 || Level 1 ||
 * || Student contributes a great deal to the drama-involvement in scenario, active listening, adding interesting elements, focused, raising the stakes. || Student is considerably involved in the drama- involved in the scenario, listening and attentive, contributes some ideas. || Student contributes somewhat to the drama- listening most of the time, quiet. Adds small remarks. || Student is not involved in the drama- disengaged, non-participatory, distracting others who are involved. ||
 * Lesson Three- Pollution**

This lesson is designed as a way of getting students to examine how increased global pollution affects individuals and their families in a very drastic way. Again, it will look at an issue elsewhere in the world, but it is essential for the teacher to help students make the connection between here and there, and emphasize that now, more then ever, we live in a global community. What affects others, affects all of us.


 * **EXPECTATIONS** || **STRATEGIES** || **TEACHER NOTES** ||
 * || Begin with a simple game of ‘Atom’ When you feel enough time has passed, finish with a group of 5 or so. Have students sit with their group. ||  ||
 * -identify and employ different kinds of questions to develop and deepen roles within a drama. || Distribute one of the attached images to each group. Give each group about ten minutes to discuss the photo. Prompts may include, but are not limited to; imagine the story of the picture you see. Who are these people? Invent the story of the photograph. How are the people (or animals) in the photo feeling? || Vary the level of intensity of the photo according to the group dynamic. ||
 * -demonstrate an understanding of group process in negotiating decisions about form and content in the construction of a dramatic presentation. || After the groups have had enough time to discuss, tell them to create a tableau that tells the story of that photo. Every person should be in the tableau. Present to the class.

Discuss the tableaux if necessary. || Instruct them that you are not looking for a recreation, but an interpretation. Maybe they just want to capture the feeling of the picture. Not every character from the photo needs to be in the tableau, and new characters can be invented and inserted. || - || The next step is to have students create the moment leading up to the photo being taken. This should only be about 30 seconds long, and is still in silence. The scenarios do not need to be particularly ‘dramatic’ or climactic, just a small moment in the lives of these people, suffering in horrible conditions. Present to the class. || These prompts are designed to get the students to create, as a group, a story based loosely on the photo. Try to encourage groups to build the story as a unit, which should encourage all students to feel a sense of ownership. || -explain how role playing in dramatic arts can function as a catalyst for learning about self, others, and the world. -demonstrate an understanding of how empathy functions as a component of role playing. -identify universal themes in drama. || After every small scene has been seen, discuss it as a class. || Possible prompts include; What were the common themes? After watching the scenes, were you left with a feeling of optimism, or hopelessness? ||
 * -perform, in the classroom, a variety of dramatic presentations.
 * || Next, have the students, still in their groups, brainstorm a series of potential lines. Appoint a scribe in each group to record the ideas. Eventually, the group must have one line for every character in the small scenario. When every group is ready, present these to the class. || If there are some students who really struggle with oral communication, they should not be forced to speak. ||
 * -explain how the ideas of a drama may be expressed through dramatic elements and forms.
 * || To finish, have every student spend some time Writing in Role as the person they were in the short scenes. || Again, some students may require prompting, or more structure. Consider a letter to a friend, or a factual report on the experience they had. ||
 * -demonstrate an understanding of the purposes of reflecting-both in and out of role, throughout and upon completion of a drama.

- -develop and communicate a sense of connection with the local and global environment. -consider different points of view or perspectives on the environment and the role of human beings in relation to it. (Standards for Environmental Education in the Environment, 2008, Ontario.) || After the students have had enough time to write down a few lines, have them spread throughout the room. Tell them to freeze into a tableau from their scenarios. It could be there opening freeze, closing freeze, or any moment throughout the scene, whichever moment they think best captures their characters experience. Circulate the room, and tell students that when you lightly touch their shoulder, they should say their line along with small movements if necessary. || Afterwards, discuss with students how writing in role changed their perspective on their character. Hopefully they feel as if they have a better understanding of that characters inner life. ||
 * || To finish, have students return to their writing. Encourage them to continue to write in role, in any form they like. These pieces of writing will later be incorporated into the anthology. ||  ||



**The Drama of The Environment**
 * Lesson Four- Take Action Now!**

This lesson is designed to take student’s focus away from the problems with the environment, and place it on some solutions. It will rely on two sources; an excerpt from David Suzuki’s //Green Guide//, and Philippe Bourseiller’s //365 Ways to Save The Earth.// The second source is a guide to simple everyday things individuals can do to take action against climate change. Spectacular colour photographs of our planet accompany the tips. Examples of tips include; Use public transit, shop and eat locally, use a bicycle, travel locally, give your clothes a second life, swear off plastic grocery bags, moderate your air conditioner use, decide what you want before you open the fridge, and many more.

EXCERPT FROM DAVID SUZUKI’S GREEN GUIDE: //There’s an ancient story about an old man who used to love walking by the ocean. He’d walk along the beach every morning. One day he saw a person moving like a dancer, bending and wading into the waves with arms extended. It pleased him that someone would dance to the beauty of the day and the rhythm of the waves. As he got closer he saw that t was a young girl. The girl wasn’t dancing, but was reaching down to the sand, picking something up, and carrying it out carefully to the ocean.// //He called out, “Good morning! What are you doing?”// //The Girl replied, “I’m returning starfish to the ocean.”// //“Why?”// //“The sun is up, and the tide is going out. If I don’t rescue them, they’ll get stranded on the beach and die.”// //“But there are miles and miles of beach and starfish all along the way. What difference can you possibly make?”// //The girl didn’t answer right away. She bent down, picked up a starfish, and placed it gently in the sea. She watched a wave lift it high, and as it sank into the life giving water, she turned to the man, smiled and said, “I made a difference for that one.”// //He nodded, and reflected for a moment. Then he bent down, picked up a starfish, and placed it gently in the sea.// Suzuki, David, and David R. Boyd. __David Suzuki's Green Guide__. Vancouver, B.C: Greystone Books, 2008.


 * **EXPECTATIONS** || **STRATEGIES** || **TEACHER NOTES** ||
 * || Begin by reading aloud the excerpt from David Suzuki’s //Green Guide.// Discuss it as a class. || Ensure that after the reading, every student understands the import of this story. Ie. Every small action taken by an individual is a step towards saving the environment. ||
 * || Next, get students into groups of 4 -5 in whichever way you choose. Tell students that they will be responsible for coming up with one simple action that will help save the planet. Students can either create a solution of their own, or choose one from Bourseiller’s //365 Ways to Save the Earth.// || This may take a while, as there are many potential solutions. Allow the necessary time so that every group is satisfied with their solution.

If any students are not satisfied with their groups decision, they can choose to move to another group. || -create and revise a script for a scene, using research, improvisation, and rehearsal appropriately.
 * -use an ensemble approach to create and present drama. || Next, tell students to think of every possible way that their solution can help. They will be responsible for defending their choice against all others in the class. They should prepare themselves to argue passionately. || Provide ample time for students to exhaust every argument. For example, if a group chose “Reuse Plastic” as their solution, there arguments could include; Plastic never breaks down, even recycling is a 2nd best because it uses energy, plastic products often crossed an ocean before reaching you, etc. ||
 * || Once enough time has passed, tell the students to elect one or two members of their group to act as spokespeople. It is the groups job to arm them with all the arguments they can come up with. ||  ||
 * -create roles/characters, using a variety of appropriate teachniques. || Explain to the students that you, the teacher, will soon be getting into role as a world famous entrepreneur, who is looking for one environmental ‘quick-fix’ to get behind. Every group will get the chance to pitch their idea to you, in the hopes of getting their message publicly endorsed by this wealthy business figure. || Cater to role-play to your comfort level. Perhaps you will find it easier to have another student, a strong improviser, play the role of the entrepreneur. ||
 * || Begin the role-play. Reach every group. || Really try and force students to consider every angle of their pitch. Try to poke holes in their solution. Make them justify their choice, and explain why their solution can have a great impact. ||
 * -re-create roles in performance, demonstrating commitment and insight into character.

-develop, communicate, and implement plans to support sustainability. -develop and articulate their own perspective on human-natural interactions and environmental issues. (Standards for Environmental Education in the Environment, 2008, Ontario.) || The final step is to have the students transform that group role-play into a persuasive performance piece,; it could take the form of an infomercial, an ‘on the street pitch’, a news broadcast, or any other genre. The choice is theirs! ||  ||