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GRADE 9 TO GRADE 12 DRAMATIC ARTS

MANITOBA CURRICULUM

FRAMEWORK OF OUTCOMES

Manitoba Education and Advanced Learning

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Dramatic Arts:“The field of dramatic arts is multidimensional. To name a few: skits, vaudeville, improvisation, theatre, musicals, collective theatre, routines, drama, docudrama, process-oriented drama, political theatre, dance, carnival, buskers, puppets, mime, cultural theatre, story theatre, drama across the curriculum, mystery plays, comedy theatre, feminist theatre, theatre of the queer, classical theatre, Asian theatre such as Kabuki, children’s theatre, children’s film, children’s animation, and children’s live theatre, television, video, multimedia, performance art, chamber theatre, readers’ theatre, circus, scripted theatre, creative dramatics, agit prop, choral reading, opera, promenade, community theatre, pantomime, burlesque, reviews, spectacles, ceremony, pageants, rituals, street theatre, and a host of other forms” (Berry, 2000, p. 2).

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T A B L E O F C O N T E N T S

Essential Learning Areas 4

Learning Outcomes 5

Making: The learner develops understanding of and facility with language and practices for making drama/theatre. 7 Making (DR-M1) 8 Making (DR-M2) 10 Making (DR-M3) 12

Creating: The learner generates, develops, and communicates ideas for creating drama/theatre. 15 Creating (DR-CR1) 16 Creating (DR-CR2) 18

Connecting: The learner develops understandings about the significance of the dramatic arts by connecting drama/theatre to diverse contexts. 23 Connecting (DR-C1) 24 Connecting (DR-C2) 26 Connecting (DR-C3) 28

Responding: The learner develops and uses critical reflection and thinking for drama/theatre learning. 31 Responding (DR-R1) 32 Responding (DR-R2) 34 Responding (DR-R3) 36 Responding (DR-R4) 38

Creating (DR-CR3) 20

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Essential Learning Areas The Dramatic Arts Framework identifies the following four essential learning areas, along with a statement summarizing the overall learning intent of each area.

Making (DR-M) The learner develops understanding of and facility with language and practices for making drama/theatre.

Creating* (DR-CR) The learner generates, develops, and communicates ideas for creating drama/theatre.

Connecting (DR-C) The learner develops understandings about the significance of the dramatic arts by connecting drama/theatre to diverse contexts.

Responding* (DR-R) The learner develops and uses critical reflection and thinking* for drama/theatre learning.

*See forthcoming Appendices

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Learning Outcomes The general learning outcomes that relate to the four essential learning areas (M, CR, C, R) in the Dramatic Arts (DR) Framework are identified below.

Making (M) The learner develops understanding of and facility with language and practices for making drama/theatre. DR–M1 The learner develops competencies for using the tools and techniques of body, mind, and voice in a variety of contexts. DR–M2 The learner develops competencies for using the elements of drama/theatre in a variety of contexts. DR–M3 The learner develops competencies for using a range of dramatic forms and styles.

Creating (CR) The learner generates, develops, and communicates ideas for creating drama/theatre. DR–CR1 The learner generates ideas from a variety of sources for creating drama/theatre. DR–CR2 The learner experiments with and develops ideas for creating drama/theatre. DR-CR3 The learner revises, refines, and shares ideas for creating drama/theatre.

Connecting (CO) The learner connects drama/theatre to diverse contexts to understand the significance of the dramatic arts.

DR–C1 The learner develops understandings about people, practices, and perspectives and perspectives from the world of the dramatic arts in various times, places, social groups, and cultures. DR–C 2 The learner develops understandings about relationships between the dramatic arts and multiple contexts past and present. DR–C3 The learner develops understandings about the roles, purposes, and meanings of the dramatic arts for self and others.

Responding (R) The learner develops and uses critical reflection and thinking for drama/theatre learning. DR–R1 The learner generates initial response to drama/theatre experiences. DR–R2 The learner critically observes and describes drama/theatre experiences. DR-R3 The learner analyzes and interprets drama/theatre experiences. DR-R4 The learner constructs meanings about drama/theatre experiences.

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GRADE 9 TO GRADE 12 DRAMATIC ARTS Learning Outcomes

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Making (DR-M)

The learner develops understanding of and facility with language and practises for making drama/theatre.

LEARNING OUTCOMES

1. Competency: “...more than just knowledge and skills. Competency is the complex “know act” that encompasses the ongoing development of an

integrated set of knowledge, skills, attitudes, and judgments required in a variety of different and complex situations, contexts and environments. It involves the ability to meet complex demands, by drawing on and mobilising psychosocial resources (including skills and attitudes) in a particular context. Competencies involve a mobilisation of cognitive and practical skills, creative abilities and other psychosocial resources such as attitudes, motivation and values” (OECD, 2005, p.4). 2. Elements of

Drama/Theatre: Focus, story/theme, setting, place, time, character, dialogue, tension, conflict, plot, blocking, drama vocabulary,

symbol, metaphor, staging, stage position, mood, roles, environment, situation/action, balance, contrast, audience/actor relationship, sound, music, language, timing, rhythm, climax, space, production elements, etc. 3. Drama/Theatre Forms: Tragedy, comedy, farce, melodrama, classical, improvisational, experimental, musical theatre, tableaux, readers’

theatre, commedia del arte, collective creation, thought watching, pantomime, monologue, puppetry, mask, improvisation, hot seating, large group improvisation, script (genre), story theatre, forum theatre, mime, radio drama, choral reading, choral speaking, teacher/student in role, slam, street theatre, etc.

DR – M1 The learner develops competencies1 for using the tools and techniques of body, mind, and voice in a variety of contexts.

DR– M2 The learner develops competencies1 for using the elements2 of drama/theatre in a variety of contexts.

DR– M3 The learner develops competencies1 for using a range of dramatic forms3

and styles.

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Making (DR-M1)

The learner develops competencies for using the tools and techniques of body, mind, and voice in a variety of contexts...

by: using body, movement, and space to communicate dramatic action and

meaning;

using mind (e.g., observation, imagination, memory, analysis, listening, etc.) to communicate dramatic action and meaning;

using voice (e.g., pitch, projection, intonation, breathing, resonance, articulation, volume, expression, colour, tone, timbre, etc.) to communicate dramatic action and meaning;

selecting and applying the tools and techniques of body, mind, and voice for purpose and intent in a range of situations.

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Making (DR-M1)

The learner develops competencies for using the tools and techniques of body, mind, and voice in a variety of contexts.

Inquiry Questions

How could I use body and/or voice to create and sustain the character under study?

What tools and techniques could I use to create different environments using body, voice and movement (e.g., airport, factory, sports event, etc.)?

How could I expand my drama tools and techniques to increase my potential as a dramatic artist?

Note: The questions above are intended as supports to provide various entry points and possible pathways for teachers and students into dramatic arts learning. Questions are intended “to stimulate thought, to provoke inquiry, and to spark more questions—including thoughtful student questions” (Wiggins & McTighe, 2005, p.106). They are presented from the learner’s point of view. Teachers are invited to add to the bank of inquiry questions by going to the 9 to 12 Dramatic Arts Group in MaPLE: http://www.mapleforem.ca/

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Making (DR-M2)

The learner develops competencies for using elements of drama/theatre in a variety of contexts...

by: identifying and experimenting with elements of drama to develop,

interpret, support, create and document original and scripted drama/theatre work;

selecting and manipulating the elements of drama for dramatic meaning and impact (e.g., convey emotion, status of a character, situation, etc.);

investigating production roles and practices when planning and presenting drama works (e.g., stage management plans, promotional ideas and business, front of house procedures, creating and implementing production schedules, etc.);

using drama vocabulary for drama making, creating, and to discuss and critique a range of drama/theatre processes and products.

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Making (DR-M2)

The learner develops competencies for using elements of drama/theatre in a variety of contexts.

Inquiry Questions

Which dramatic elements could help me clarify the focus in a drama about a historical event?

What important element in the text under study could I highlight through symbolization and/or metaphor (e.g., light symbolizes joy, a suitcase symbolizes memories, darkness symbolizes despair, etc.)?

How could I use blocking to focus audience attention on key characters or relationships between characters?

How could I use technological tools such as sound and/or light to create a particular mood or communicate the atmosphere or environment of my scene?”

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Making (DR-M3) The learner develops competencies for using a range of dramatic forms and styles...

by: identifying and analyzing qualities and characteristics of a range of

dramatic forms and styles to respond to a variety of dramatic needs and purposes;

selecting and using a range of dramatic forms and styles to explore, interpret and communicate ideas and meaning.

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Making (DR-M3)

The learner develops competencies for using a range of dramatic forms and styles.

Inquiry Questions

Which form or styles could I choose from to transfer a story to dramatic form?

How will the dramatic form or style that I have selected help create dramatic meaning and theatrical effect to support and communicate my intent?

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Creating (DR-CR)

The learner generates, develops, and communicates ideas for creating drama/theatre.

LEARNING OUTCOMES

DR – CR1 The learner generates ideas from a variety of sources for creating drama/theatre.

DR– CR2 The learner experiments with and develops ideas, elements, and forms for creating drama/theatre.

DR– CR3 The learner revises, refines, and shares ideas for creating drama/theatre.

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Creating (DR-CR1) The learner generates ideas from a variety of sources for creating drama/theatre...

by: exploring a wide range of resources and stimuli to generate questions,

wonderings, and ideas (e.g., movement, images, sound, music, stories, poetry, artifacts, technology, multimedia, other arts and subject areas, costumes, props, etc.);

using personal experiences and relevant sources to generate questions, wonderings, and ideas (e.g., feelings, memories, imagination, observations, associations, cultural traditions, responses to current events, social, political, historical, and environmental issues, curriculum studies, etc.);

engaging in collaborative idea generation (plus-ing)1 as inspiration and fuel for moving ideas forward;

considering other arts disciplines (dance, media arts, music, visual arts) and subject areas to inspire and ignite dramatic action and ideas.

Plus-sing: “in collaborative idea generation, the act of accepting any idea or adding to it, having an affinity with the ‘yes and’ practice of improvisational theatre” (Kelly, 2012, p. 321).

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Creating (DR-CR1)

The learner generates ideas from a variety of sources for creating drama/theatre.

Inquiry Questions What recent movie, book, event, news item, etc, could inspire ideas for my next drama

creation?

How could I apply the concept of “plus-ing” to generate ideas for group or individual work?

What dance, music, or visual arts (e.g., steampunk dance, slam poetry/music, street art, etc.) have I seen or heard that I could use to stimulate ideas for my dramatic art work?

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Creating (DR-CR2) The learner experiments with and develops ideas, elements, and forms for creating drama/theatre...

by: remaining open to emerging, serendipitous ideas and inspiration;

engaging in cycles of experimentation and idea generation to consider possibilities and test out ideas;

using improvisation skills to find new possibilities;

selecting, synthesizing, and organizing promising ideas and elements to support intention and give form to drama work.

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Creating (DR-CR2)

The learner experiments with and develops ideas, elements, and forms for creating drama/theatre.

Inquiry Questions

What additional sources could I examine to generate other ideas?

What questions can I ask about my initial ideas to further develop my ideas?

What ways could I experiment with my ideas to see if they will work or not and to find out what changes could be made?

In what ways did feedback from my peers affect and help my experimenting with ideas?

What production elements and design ideas could I choose from to support my intent and ideas?

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Creating (DR-CR3) The learner revises, refines, and shares ideas for creating drama/theatre...

by: selecting and sharing work in progress for ongoing feedback;

reconsidering and/or confirming choices; analyzing, revising, rehearsing, and refining in response to critical self-reflection and feedback from others;

finalizing and sharing dramatic work with communicative intent and audience in mind;

applying legal and ethical arts practices when consuming, producing, and sharing drama/theatre and arts (e.g., copyright, intellectual property, etc.).

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Creating (DR-CR3)

The learner revives, refines, and shares ideas for creating drama/theatre.

Inquiry Questions

How will I document my drama/theatre processes (e.g., blog, photography, social media, audio/video recording, portfolio, etc.)?

What are my options for presenting my work to others?

What does the term intellectual property mean and why should I be concerned with copyright laws?

What went well for me? What improvements/changes would I like to make and why?

What might I create next?

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Connecting (DR-C)

The learner develops understandings about the significance of the dramatic arts by connecting drama/theatre to diverse contexts.

LEARNING OUTCOMES

DR – C1 The learner develops understandings about people, practices, and perspectives from the world of the dramatic arts in various times, places, social groups, and cultures.

DR– C2 The learner develops understandings about relationships between the dramatic arts and multiple contexts past and present.

DR– C3 The learner develops understandings about the roles, purposes, and meanings of the dramatic arts for self and others.

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Connecting (DR-C1) The learner develops understandings about people, practices, and perspectives from the world of the dramatic arts in various times, places, social groups, and cultures...

by: exploring a range of drama/theatre works, forms, styles, traditions, and

performance practices to inform drama/theatre learning (performing, creating, designing, critiquing, etc);

investigating contributors from a range of contexts (e.g., actor, playwright, script writer, director, producer, sound/lighting/costume designer, advocate, teacher, historian, critic, etc.);

analyzing how and why dramatic elements, language, forms, styles, traditions, and performance practices are used in different contexts;

investigating local, Manitoba, and Canadian contributors and contributions to the dramatic arts (e.g., events, drama/theatre organizations, community and cultural resources, innovations, etc.);

examining how the dramatic arts can be a means of communicating diverse viewpoints and of understanding the perspectives of others.

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Connecting (DR-C1)

The learner develops understandings about people, practices, and perspectives from the world of the dramatic arts in various times, places, social groups, and cultures.

Inquiry Questions

What common themes, characters, and situations are found in stories and drama from other times, places, cultures, and social contexts?

What can scripted works tell me about local history and culture?

What research and findings about drama, actors, and/or script writers could provide new ideas for my drama work?

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Connecting (DR-C2) The learner develops understandings about relationships between the dramatic arts and multiple contexts past and present...

by: examining how the dramatic arts and artists reflect, interpret, and record

traditions, values, beliefs, issues, and events in society and culture;

demonstrating awareness of the impact of context for the dramatic arts (e.g. personal, social, cultural, political, economic, geographical, environmental, historical, technological, etc.);

examining ways that the dramatic arts and artists influence, comment on, question, and challenge social, political, and cultural discourse and identity;

exploring how the dramatic arts and artists influence and are influenced by other arts disciplines and subject areas.

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Connecting (DR-C2)

The learner develops understandings about relationships between the dramatic arts and multiple contexts past and present.

Inquiry Questions

What drama communities, traditions, or philosophies connect to my own drama/theatre work?

Which historical, social, cultural and/or political events and issues influenced the drama work I am examining or creating?

How have media, social and technological changes influenced my work and the drama works I am studying?

How have different styles of drama influenced artistic and social conditions in communities and cultures past and present?

How can drama/theatre challenge and change the way society and culture are viewed?

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Connecting (DR-C3) The learner develops understandings about the roles, purposes, and meanings of the dramatic arts for self and others...

by:

examining ways that the dramatic arts and artists influence personal growth, identity, and relationships with others;

exploring how drama/theatre and artists make and communicate meaning and create unique and new ways for knowing ourselves and perceiving the world;

analyzing the multiple roles and purposes of drama/theatre for individuals and society (e.g., celebration, persuasion, education, commemoration, as entertainment, commentary, recreation, communal events, therapy; religious/artistic/cultural expression, etc.);

networking with local and regional drama/theatre communities, artists, and events to seek out community and cultural resources and expand opportunities for learning about drama/theatre;

investigating leisure and/or career and other lifelong possibilities in the dramatic arts (e.g., actor, playwright, script writer, director, producer, sound/lighting/costume designer, advocate, teacher, historian, therapist, critic, etc.).

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Connecting (DR-C3)

The learner develops understandings about the roles, purposes, and meanings of the dramatic arts for self and others.

Inquiry Questions

How can contextual information about drama (e.g. historical, biographical, cultural, political, social, geographical, etc.) help interpret meaning and impact of the drama?

Which local or regional drama and theatre associations, artists, and resources could expand my drama/theater learning?

How could I learn more about drama roles and purposes by connecting with local or regional actors, writers, and drama/theatre professionals (e.g. visits to sets, in person interviews, blogging, video-conferencing, social media, etc.)?

What are my short and long term possibilities in drama/theatre for leisure or career?

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Responding (DR-R)

The learner develops and uses critical reflection and thinking for drama/theatre learning.

LEARNING OUTCOMES DR-R1 The learner generates initial responses to drama/theatre experiences.

DR-R2 The learner critically observes and describes drama/theatre experiences.

DR-R3 The learner analyzes and interprets drama/theatre experiences.

DR-R4 The learner constructs meanings about drama/theatre experiences.

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Responding (DR-R1) The learner generates initial response to drama/theatre experiences...

by: suspending judgement and taking time to deeply perceive drama/theatre

experiences before forming opinions, interpretations, and evaluations;

making personal connections to previous experiences with drama/theatre and other art forms;

expressing first impressions evoked by drama/theatre experiences as a starting point for critical analysis and reflection (e.g., thoughts, feelings, intuitions, associations, questions, experiences, memories, stories, connections to other disciplines).

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Responding (DR-R1)

The learner generates initial responses to drama/theatre experiences.

Inquiry Questions

What is my first reaction to this drama?

What memories, feelings, experiences, etc. motivated me to create or interpret this work or choose this process?

What personal connections can I make to this drama work?

Have I seen or experienced anything like this before? How is it similar or different?

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Responding (DR-R2) The learner critically observes and describes drama/theatre experience...

by: discerning details about drama/theatre elements, forms, styles, tools and

techniques to inform analysis, interpretation, judgement, and evaluation;

using drama/theatre vocabulary to create rich, detailed observations (e.g., elements, techniques, forms, styles, themes, costumes, music, etc.);

building common understandings and considering different noticings about drama work and experiences.

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Responding (DR-R2)

The learner critically observes and describes drama/theatre experience.

Inquiry Questions

How are elements, sounds, movements, words, images, and/or ideas used and manipulated in the work I am viewing, performing, or creating?

What drama/theatre vocabulary can I use to describe the drama elements, forms, styles, conventions, and/or techniques in the work I am viewing?

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Responding (DR-R3) The learner analyzes and interprets drama/theatre experiences...

by: analyzing how drama/theatre elements are used for artistic and creative

purpose (e.g., function, relationship, manipulation, and organization of elements, etc.);

connecting analysis evidence with initial reactions and personal associations to form interpretations about meaning and intent;

examining a range of interpretations to understand that unique perspectives and lenses affect interpretation (e.g., social, cultural, historical, political, disciplinary, etc.);

refining and igniting new thinking through listening to others, critical dialogue, questioning, and research;

probing, explaining, and challenging interpretations, preferences, and assumptions about meaning and quality;

generating and co-constructing criteria to critically evaluate artistic quality and effectiveness.

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Responding (DR-R3)

The learner analyzes and interprets drama/theatre experience.

Inquiry Questions

What do I think the artist or playwright is trying to communicate and why?

What did I intend to communicate about my own work, and why?

What dramatic elements are helping me to interpret the work for meaning and intent?

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Responding (DR-R4) The learner constructs meaning about drama/theatre experiences...

by: justifying own interpretations, decisions, preferences, evaluations,

and any changes in previous thinking;

making informed judgements based on pre-established and/or co-constructed criteria;

understanding and respecting that individuals and groups may have different opinions, interpretations, preferences, and evaluations regarding drama/theatre works and experiences;

formulating ideas, beliefs and values about the dramatic arts that affect and contribute to personal, social, and artistic identity;

recognizing how emerging understandings and critical reflection can inform and advance drama/theatre learning.

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Responding (DR-R4)

The learner constructs meaning about drama/theatre experience.

Inquiry Questions

Why do I prefer certain styles and forms of drama over others?

How are my personal preferences for drama changing with new experiences?

How will new understandings about drama/theatre affect my personal, social, or school life?