introduction - web viewgetting the part: arts assessment for theatre, grade 10page ii. getting the...

AssessmentOSPI-Developed Performance

Office of Superintendent of Public InstructionSeptember 2015

A Component of the Washington State Assessment System

TheatreThe Arts

Getting the Part Grade 10

Office of Superintendent of Public InstructionOld Capitol Building

P.O. Box 47200Olympia, WA 98504-7200

For more information about the contents of this document, please contact:

Anne Banks, The Arts Program SupervisorPhone: (360) 725-4966, TTY (360) 664-3631

OSPI provides equal access to all programs and services without discrimination based on sex, race, creed, religion, color, national origin, age, honorably discharged veteran or military status, sexual orientation including gender expression or identity, the presence of any sensory, mental, or physical disability, or the use of a trained dog guide or service animal by a person with a disability. Questions and complaints of alleged discrimination should be directed to the Equity and Civil Rights Director at (360) 725-6162 or P.O. Box 47200 Olympia, WA 98504-7200.

This work is licensed as a Creative Commons Attribution Non-Commercial Share Alike product by the Washington Office of Superintendent of Public Instruction. For more information on this license, please visit http://creativecommons.org/licenses/by-nc-sa/3.0/.

Table of ContentsIntroduction...................................................................................................................................................ii

Overview.........................................................................................................................................................1

Test Administration: Expectations......................................................................................................1

Description of the Performance Assessment..................................................................................2

Learning Standards....................................................................................................................................2

Assessment Task.........................................................................................................................................3

Teacher’s Instructions to Students.................................................................................................3

Accommodations....................................................................................................................................3

Student’s Task..........................................................................................................................................4

Supporting Materials and Resources for Teachers......................................................................9

Preparation for Administering the Assessment.......................................................................9

Recommendations for Time Management...............................................................................11

Glossary....................................................................................................................................................12

Getting the Part: Arts Assessment for Theatre, Grade 10 Page i

OSPI-DOSPI-D EVELOPEDEVELOPED P P ERFORM ANCEERFORM ANCE A A SSESSM ENTSSSESSM ENTS FORFOR THETHE A A RTSRTS

IntroductionTo Washington educators who teach theatre:

Welcome to one of our OSPI-developed performance assessments and this implementation and scoring guide. This document is part of the Washington assessment system at the Office of Superintendent of Public Instruction (OSPI).

The assessments have been developed by Washington State teachers and are designed to measure learning for selected components of the Washington State Learning Standards. They have been developed for students at the elementary and secondary levels. Teachers from across the state in small, medium, and large districts and in urban, suburban, and rural settings piloted these assessments in their classrooms. These assessments provide an opportunity for teachers to measure student skills; they can both help teachers determine if learning goals have been met, and influence how teachers organize their curricula. They also provide an opportunity for students to demonstrate the knowledge and skills they have gained.

These assessments:

Provide immediate information to teachers regarding how well their students have acquired the expected knowledge and skills in their subject areas.

Inform future teaching practices.

Provide resources that enable students to participate in measuring their achievements as part of the learning experience.

Included in this document are:▪ directions for administration

▪ assessment task

▪ scoring rubrics

▪ additional resources

Our hope is that this assessment will be used as an integral part of your instruction to advance our common goal of ensuring quality instruction for all students.

If you have questions about these assessments or suggestions for improvements, please contact:

Anne Banks, Program Supervisor, The Arts (360) 725-4966, [email protected]

Getting the Part: Arts Assessment for Theatre, Grade 10 Page ii

GETTING THE PART TheatreGrade 10

An OSPI-Developed Performance Assessment

OverviewThis document contains information essential to the administration of Getting the Part, an OSPI-developed arts performance assessment for theatre (Grade 10). Prior to administration of this assessment, all students should have received instruction in the skills and concepts being assessed. Please read this information carefully before administering the performance assessment.

This classroom-based performance assessment may be used in several ways:

As an integral part of instruction.

As a benchmark, interim, or summative assessment.

As a culminating project.

As an integral part of a unit of study.

As a means of accumulating student learning data.

As an individual student portfolio item.

Test Administration: Expectations The skills assessed by this task should be authentically incorporated into

classroom instruction.

This assessment task is to be administered in a safe, appropriately supervised classroom environment following district policy and procedures.

All industry and district safety policies and standards should be followed in the preparation and administration of OSPI-developed performance assessments in dance, music, theatre, and visual arts.

Getting the Part: Arts Assessment for Theatre, Grade 10 Page 1

Synopsis ofGetting the Part

Each student chooses a one-minute monologue from a published play and performs it as though for an audition. After memorizing the monologue, the student will write an analysis of the character who delivers it. (This analysis should be based on questions listed on the response sheet.) Before performing the monologue for the teacher, the student will perform it for a partner, who will offer feedback. The teacher records the student’s final performance.

Accommodations based upon a student’s individualized education program (IEP) or 504 Plan may require additional modifications to this assessment.

Additional modifications to the administration of this assessment may be required to accommodate cultural differences, diversity, and religious mores/rules.

Description of the Performance Assessment Performance prompts ask the student to prepare and present a solo

performance based on the criteria outlined in the task. The students’ final performances should be recorded to facilitate scoring and to document each student’s performance.

This assessment also includes response sheets: Each student must respond to the questions and prompts listed on the response sheets.

Learning StandardsThis assessment addresses Washington State Learning Standards for Theatre, including the GLEs from the Options for Implementing the Arts Standards through Theatre by Grade Level document.

GLE 1.1.110th Grade

Analyzes the elements of theatre (character, plot, setting, conflict, dialogue, and theme) in scripts and/or performances.

GLE 1.2.110th Grade

Analyzes given circumstances in a script to create a character’s facial expressions, gestures, body movements/stances, stage positions, blocking, and business in a performance.

Depending on how individual teachers build their lesson units, additional Washington State Learning Standards can be addressed.


Assessment TaskTeacher’s Instructions to Students1. Say: “Today you will take the Grade-10 Washington OSPI-developed arts

performance assessment for theatre. This assessment is called Getting the Part.”

2. Provide the class with copies of the student’s section of the assessment (which may include the student’s task, response sheets, rubrics, templates, and glossary), along with any other required materials.

3. Tell the students that they may highlight and write on these materials during the assessment.

4. Have the students read the directions to themselves as you read them aloud. We also encourage you to review the glossary and scoring rubrics with the students.

5. Answer any clarifying questions the students may have before you instruct them to begin.

6. If this assessment is used for reporting purposes, circle the scoring points on the first page of each student’s response sheets.

Students may have as much time as they need to complete the task. All students who remain productively engaged in the task should be allowed to finish their work. In some cases, a few students may require considerably more time to complete the task than most students; therefore, you may wish to move these students to a new location to finish. In other cases, the teacher’s knowledge of some students’ work habits or special needs may suggest that students who work very slowly should be tested separately or grouped with similar students for the test.

AccommodationsThe following accommodations can be made for students with special needs or whose English language skills are limited:

To complete the response sheets, students may dictate their answers to an instructional aide, who will write them down.


The student may give the written and/or recorded responses in their first language. We request a written and/or verbal English translation for consistency (validity/reliability) in scoring the rubric.

Student’s TaskThe following section contains these materials for students:

The student’s task: Getting the Part (Grade 10)

Assessment rubric

Response sheets


Student’s Task

Getting the PartGetting the PartYou are an actor auditioning for a part in a community theatre production. For the audition, you must perform a one-minute monologue from a published play. After you have selected and memorized your monologue, you will write a character analysis of the character who delivers it. Your analysis should be based on the questions on the response sheet.

To prepare for your audition, you will first perform your monologue in front of a partner. Your partner will give you feedback so that you can refine your work.

Your teacher will record your final performance.

Your Task

First, choose your monologue, analyze your character, and prepare your performance—

The director of the theatre company explains that to be cast in this production, you must meet the following requirements when you prepare and give your audition:

Create an exciting and unique character analysis. (Use the questions on the response sheet as a guide):

o Identify the given circumstances of the play.

o Identify your character’s objectives in the monologue.

o Identify the obstacles that stand in the way of your character achieving his/her objectives.

o Select possible tactics your character could use to overcome obstacles and achieve his/her objectives.

Develop a believable and vivid character by:

o Making movement choices that are interesting and based on your character analysis.

o Making vocal choices that are effective, expressive, and based on your character analysis.

o Making emotional choices that are layered and based on your character analysis.

o Sustaining your character throughout the entire performance.


Second, refine and perform your monologue—

After you have selected, memorized, analyzed, and rehearsed your monologue, you will be given one minute to perform it for a partner. You should revise and refine your performance based on your partner’s feedback.

Your final performance will be in front of the theatre’s director. This performance will be recorded.

Third, complete your response sheets—

After you have answered the questions about the play, monologue, and character, complete the response sheets by evaluating your portrayal of the character. Be sure to use the vocabulary of theatre correctly.

Please note:

You may use a previously memorized monologue.

You may not use props or costumes in your performance; however, you may use chairs, tables, acting blocks, or benches.


Getting the Part4 points 3 points 2 points 1 point No Score

Perf

orm

ing:

Cha

ract

er A

naly

sis

The student demonstrates a thorough understanding of character analysis by meeting all four of the following requirements: Identifies the play and playwright

and summarizes the plot using the vocabulary of theatre.

Identifies any given circumstances in the monologue (using the vocabulary of theatre correctly).

Identifies the character’s objectives, obstacles, and tactics within the monologue (using the vocabulary of theatre correctly).

Evaluates movement work, vocal work, emotional work, and level of focus (concentration) in the performance (using the vocabulary of theatre correctly).

The student demonstrates an adequate understanding of character analysis by meeting three of the four requirements listed at left.

The student demonstrates a partial under-standing of character analysis by meeting two of the four requirements listed at left.

The student demonstrates a minimal under-standing of character analysis by meeting one of the four requirements listed at left.

The student demonstrates no under-standing of character analysis, having met none of the four require-ments listed at left.

Resp

ondi

ng: C

hara

cter

Dev

elop

men

t

The student demonstrates a thorough understanding of character in a memorized monologue by meeting all four of the following requirements: Uses a series of movements that

enhance and bring to life a believable and sustainable character.

Makes a series of vocal choices that enhance and bring to life a believable character.

Selects appropriate emotions that demonstrate the character’s objectives, obstacles, and tactics.

Maintains focus throughout the entire performance.

The student demonstrates an adequate understanding of character in a memorized monologue by meeting three of the four requirements listed at left.

The student demonstrates a partial under-standing of character in a memorized monologue by meeting two of the four requirements listed at left.

The student demonstrates a minimal under-standing of character in a memorized monologue by meeting one of the four requirements listed at left.

The student demonstrates no under-standing of character in a memorized monologue, having met none of the four requirements listed at left.

Assessment Rubric


Response SheetsStudent’s Name/ID# _____________________________________________ Grade Level _________

(circle number) Performing Score 4 3 2 1 NS

Responding Score 4 3 2 1 NS

Responses

1. What is the title of this play and who is the playwright? Write a brief summary of the play.

2. Identify any given circumstances in the monologue. (What do you know about the character and environment from the text?)

3. What are your character’s objectives, obstacles, and tactics within this monologue?

4. Evaluate your work and show how you used each of the following to portray your character in the performance:

movement _________________________________________________________________________________

vocal work _________________________________________________________________________________

emotional work ____________________________________________________________________________

sustains character __________________________________________________________________________


Supporting Materials and Resources for Teachers

Preparation for Administering the Assessment

Tools & Materials

Teachers will need the following materials and resources to administer this performance assessment:

copies of the task, including the glossary of terms (one for each student)

copies of the student-response sheets (one set for each student)

a selection of published plays, monologues, or books that contain monologues from published plays

a marked performance space

one pencil per student

a recording device

Guidelines

This assessment is an individual performance.

Copy the student’s task, glossary of terms, and response sheets. Make one set of copies for each student.

Provide a variety of monologue books (such as The Actor’s Scenebook edited by Michael Schulman and Eva Mekler, Scenes and Monologues from the New American Theatre edited by Frank Pike and Thomas G. Dunn, The Actor’s Book of Contemporary Stage Monologues edited by Nina Shengold, and Great Monologues for Young Actors edited by Craig Slaight and Jack Sharrar) from which the students can choose their monologues. All monologues must come from published plays.

Each student must memorize her/his monologue; students may use a previously memorized monologue.

Prior to the assessment, give the students time to select a play and monologue. Alternatively, you may assign monologues to students, or all students may use the same monologue.

Students may work outside of class on memorization and on researching the play from which the monologue is taken.

Only experienced students should attempt a classical monologue.


Students may use stools, tables, acting blocks, or chairs in the performance; however, they may NOT use hand props or costumes. Students must mime the use of props and costume pieces.

Assign to each student a partner who will watch the student’s performance and provide feedback to the performer.

Each student’s performance must be recorded for this assessment.

Recording setup must be in a defined space where the performer can be seen at all times. The camera should be placed so as to record the scene from the audience’s perspective.

Students should be prompted to state their names/numbers and current grade levels into the recording device before they begin performing. (You may also want them to state the title and author of the play and the name of the character they are portraying.)

Coach the students to face the audience while performing. (The performer’s face must be seen so that facial expression can be assessed.)

Each performer must include a three-second neutral pause at the beginning and at the ending of his/her performance to indicate a clear start and a clear ending. The student may end off stage or off camera.

As an alternative to a written response:

You may permit video or audio recording. Coach the students who are being recorded to face the recording device when responding. Students must have a copy of the response sheet when being recorded.

A student may dictate her/his response-sheet answers as necessary to meet her/his needs. Students may use resources that are visible in the testing classroom, but you may not prompt or coach students during the assessment.

When you are administering the assessment, students may ask questions to clarify the process. You should encourage students to ask questions at any time throughout the administration of the assessment.


Recommendations for Time ManagementStudents may have as much time as they need to complete the task. The timeframes suggested here are meant only as a guide, and you may shorten or lengthen them to suit the individual circumstances of the class and students.

The following is a four-day suggested timeframe:

DAY 1

15 minutes: The teacher provides the class with the task and reads it aloud. The students may ask questions. The teacher answers questions.

5 minutes: The teacher distributes the response sheets to the students.

35 minutes: The students select, memorize, and begin to analyze their monologues based on the questions on the response sheet.

5 minutes: The teacher collects the response sheets.

DAY 2

5 minutes: The teacher redistributes all materials to the students.

50 minutes: The students continue their memorization and analysis and the development of their performances of the monologues based on the questions on the response sheet.


DAY 3


15 minutes: The students rehearse their monologues.

35 minutes: Each student performs his/her monologue for a partner and receives feedback to help refine his/her performance.


DAY 4


40 minutes: Each student performs her/his monologue for the teacher, who records the performance.

5 minutes: The teacher collects the response sheets of the students who responded in writing and records the students who responded


verbally.

Glossary acting skills—the use of voice, movement, improvisation, and characterization.

action—events within the play that move the plot along.

aesthetics—an idea of what is beautiful or artistic; a set of criteria for judging something to be beautiful or artistic.

articulation—the use of all of the articulators (lips, teeth, tongue, soft and hard palettes, larynx, and glottis)to deliver speech or language clearly.

audition—a tryout for a theatrical role.

balance—the arrangement of design elements and actors to create visual stability on stage.

blocking—an actor’s traffic pattern on stage.

business—movements that mime or make use of props, costumes, and make-up to strengthen the personality of a character that the actor is portraying.

character—a person, animal, or thing in a scene, story, or play.

character development—creating from a text a character who uses tactics to overcome obstacles to achieve objectives; portraying this character by choosing physical actions, vocal qualities, and believable emotions that are sustained throughout the performance

conflict—a struggle between two or more opposing forces, events, ideas, or characters in a scene or play.

costumes—the clothing an actor wears to create a character.

creative dramatics—a teacher-led dramatic enactment of story, setting, and/or characters; an experiential process-based activity, not a performance for an audience. The teacher may assume a role.

cue—1. a signal for a performer or technician to perform an action or say a line; 2. a signal from a side-coach to perform an action or say a line.

design—a purposeful plan for the spectacle of a play (such as costumes, set, props, lighting, sound) based on an overall concept.


design concept—the overall visual theme for a combined theatrical design in which features such as lights, sets, costumes, make-up, props, and sound work together to tell the story. A design concept is a visual way of expressing how the technical elements will illuminate the central theme of the play.

dialogue—a conversation between two characters in a theatrical performance.

diaphragmatic breathing—using the diaphragm muscle to support the breath.

diction—choice and use of words.

drama—a literary composition (a play) intended for a performance before an audience.

dramatic structure—the composition of a theatrical work (such as a play, scene, or improvisation) that includes exposition, inciting incident, rising action, conflict, climax, falling action, and resolution.

elements of theatre—setting, character, conflict, dialogue, plot, and theme.

ensemble—a group of actors working together cooperatively and responsibly to achieve the group’s goal by means of problem solving and creativity.

enunciation—saying the vowels and consonants correctly.

event—something that happens at a certain place and time.

expression—the way the character says words to convey meaning and emotion.

facial expression—movements of the face that show feelings or ideas

focus—1. the intended point of interest on stage; 2. the actor’s ability to concentrate and keep attention fixed on the matter at hand.

genre—a type or category of theatrical work that is defined by a particular style, form, or set of characteristics and is often associated with a specific historical period or culture.

given circumstance—in the text of a play, the information that the playwright gives concerning character, setting, and relationships.

haiku—an unrhymed Japanese verse that consists of three lines, the first containing five syllables, the second containing seven syllables, and the third containing five syllables.

improvisation—a spontaneous performance during which the actors establish a story (including objectives, setting, character, and relationships) with minimal preparation.


improvisational blocking—refusing/denying/ignoring/rejecting an offering.

improvisational theatre—a structured, yet non-scripted scene or play.

inflection/pitch—the use of high and low sounds in speech to convey meaning and emotion.

levels—1. the placement of an object or person on the stage from upstage to downstage; 2. the vertical height of an actor or set piece from the stage floor.

lighting—using a variety of instruments to illuminate both the actors and sets on stage.

make-up—cosmetics applied to the face and body to enhance character.

mime—to act out a movement or the use of an object without words or props (totally silent).

monologue—a speech within a play delivered by a single actor alone on stage.

movement—physical action used to establish meaning and emotion to create character, including:

blocking—an actor’s traffic pattern on stage.

business—movements that mime or make use of props, costumes, and make-up to strengthen characterization.

facial expression—movements of the face that show emotions and/or ideas.

gestures—movement of a body part (arm, leg, hand, etc.) which is used to communicate.

posture/stance—the position of the limbs and the carriage of the body as a whole that communicate character.

whole-body movements—locomotive and non-locomotive uses of the body that communicate character.

nursery rhyme—a short song or poem for young children.

objective—the character’s wants, needs, and desires.

obstacle—what stands in the way of the character achieving his/her objectives.

offering (offer)—a suggestion (conveyed verbally or by means of movement) that is given by one actor to another to initiate or further an improvisation.

open—maintaining a body position in which the character’s face/frontal body can be seen by the audience in a proscenium or thrust-stage setting.


pantomime—conveying a story by use of expressive body and facial movements without speech, props, costumes, or sounds (instrumental music can be used as background).

pause—the moment of silence within a speech; used to show meaning or emotion and/or to develop character.

performance—a structured presentation of a theatrical work in front of an audience.

phrasing—the use of punctuation, pause, and word- or phrase-emphasis to create meaning and emotion.

play—a form of writing intended for live performance.

plot—a storyline that includes exposition, inciting incident, rising action, climax, and resolution of a conflict.

production—a structured performance created and presented for an audience.

props/properties—objects used by an actor on stage.

projection/volume—the appropriate use of loud and soft sounds to convey meaning and emotion to the entire audience.

pronunciation—the correct way to speak or articulate a word.

rate/cadence—the speed with which words are spoken to convey meaning and emotion.

readers’ theatre—an orchestrated reading that relies primarily on vocal characterization and does not include the elements of visual theatre (such as costuming, sets, or blocking).

rehearsal—the period of time used to prepare a play for performance in front of an audience.

resonance—fullness of voice created by vocal vibrations.

scene—a subdivision of a play, characterized by a single situation or unit of dialogue.

set—the on-stage space and its structures (scenery), within which the actors perform and that represent the setting of the play.

setting—the time, place, and atmosphere in which the scene or play occurs.


side-coaching—comments made by the teacher during an activity that affirm or correct students in the achievement of objectives, especially in creative dramatics.

sound—the process of using music, audio effects, and reinforcement to enhance setting and mood.

stage—the place where the actors perform.

status—the importance (or lack thereof) of a character or object on the stage.

subtext—an implied meaning or unspoken complication that generally runs concurrently with the main plot.

sustainability—an actor’s sustained portrayal of a character—with no noticeable break or lapse—throughout a performance.

stage geography—physical areas of the stage labeled center stage, down center, up center, stage right, stage left, up stage left, down stage left, up stage right, and down stage right.

stage picture—a visual image created by using any combination of set, costume, props, lighting, and character placement.

style—the distinctive characteristics or techniques of an individual artist, group, or period as seen in a work of theatre.

tactics—the possible ways the character can overcome obstacles.

technical design—the plan (based on an overall concept) for costumes, set, props, lighting, sound, make-up, and special effects in a production.

text analysis (script)—the examination of the theatrical elements of a text to gain greater understanding both of the theme and of the character which the actor portrays.

theatre (or theater)—1. the place where plays are presented to an audience; 2. the art of creating performances.

theatre etiquette—appropriate behavior of audience, performers, or technicians in a variety of theatrical settings.

theatre text (script)—any written text used as a script.

theme—the central idea of a play.

three-dimensional character (round)—a character that is developed emotionally, psychologically, and physically.


venue—a place where a performance is held.

vocal placement—resonating the voice in different parts of the body, such as chest, head, nose, throat.

voice—vocal qualities that are used to convey meaning and emotion in order to create character; these include:

articulation—the clear delivery of speech or language utilizing all of the articulators (lips, teeth, tongue, soft and hard palettes, larynx, and glottis.)

breath support—the use of the diaphragm in correct breathing.

enunciation—saying vowels and consonants correctly.

expression—the way the character delivers words to convey meaning and emotion.

inflection/pitch—the use of high and low sounds in speech to convey meaning and emotion.

projection/volume— the appropriate use of loud and soft sounds to convey meaning and emotion to the entire audience.

rate/cadence—the speed with which words are spoken to convey meaning and emotion.

pause—the moment of silence within a speech; used to show meaning or emotion and/or to develop character.

pronunciation—the correct way to speak or articulate a word.

word emphasis—selection of the most important word or words in each phrase or sentence to create meaning, show emotion, and convey character (pointing up the word).

Note: The entire glossary for theatre is included here as a resource for teachers and students.


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