Drama 20- 5 Credits

Ms. Neufeld, Ms. Minor, Ms. McNeil

Welcome! To Drama 20!!
This is a 19-week course designed to move beyond theoretical concepts of theatre and
performance and move to the more practical elements of performance, and all that jazz!
Our main focus this term will be working on our play, Toronto at Dreamers Rock, by
Drew Hayden Taylor. We will not only be working towards staging and performing the
play, but we will also be looking at all the elements that go into mounting a successful
production.
How our semester together will look:
First Week: Getting to know you, getting to know each other!

Play games:
I.
Name games
II.
Physical and Vocal warm-ups
III.
Getting use to moving about the space and working together
Your life story:
I.
I want to know something about you so Im inviting you to share a story
about yourself (or your whole life story!)
II.
You are allowed to use any form you like:
Story, oral presentation, solo performance, interpretive dance,
song, mime, shadow theatre, be creative! Have fun! THIS WILL
NOT BE MARKED!

Week 2-3 (10%): Were going to explore some Improvisation (yes this means more
games youre welcome.) L.O. 33-36

Games that develop:

I.
Giving life to and sustaining a character
II.
Sharing, giving, taking focus for the purpose of good story- telling
III.
TELLING A STORY! Very important in imporv.
IV.
Making you all look pretty on stage: This means levels, planes, dynamics and
staging
V.
Get spontaneous, learning to trust yourself
VI.
Working it out in planned improv.
During this unit we will be working in groups towards creating a full and complete
scene of your own development to present to the class.

Week 4- 14 (60%): Working on the PLAY!: Toronto at Dreamers Rock

We will be covering several important skills while working towards preforming our
completed and staged play. Some of the skills will include: Speech, Acting, Theatre
Studies, and Theatre Tech. Some of specific elements we will work on will include:

I.
II.
III.
IV.

Speech work: L.O. 15-21

Expressive reading
Communicating mood and emotion and character voice
Character subtext and meaning of language
Movement and gesture for character development: LABAN!
Acting: L.O. 1-17
I.
Script work: Analyzing, understanding and exploring
II.
Character work: character body, voice, emotional state and life views.
III.
Character objectives.
IV.
You will have to memorize your part!
V.
Character work within the relationships within the script
VI.
Critiquing work; both your own and your classmates
VII.
Scene work and development of story to create a complete product
Theatre Studies: L.O. 3
I.
We will be working to recognize the elements of critique
Technical Theatre: L.O 1-8, 1-11
I.
We will have the Drama 30s assisting us with stage management, light
and sound
II.
We will be covering set and costume design and building
III.
We will review elements of make-up and props from our Drama 10 work

Youre assessment of this unit will consist of youre work within each unit leading up to and
including our performance of the play.
Week 15-19 (30%): Now that weve successfully put on a play (phew!) Lets write our own
stuff! We will be looking at: L.O. 1-13

Basic structure and format of a play: plot, character, objectives, and character
conflict (we will be very familiar with all of this by this point, dont worryHakuna Matata!)
We will be brainstorming ideas and writing our own scenarios to be performed!
And giving and accepting constructive criticism.

Im looking forward to getting started on this awesome semester (personally my favorite),

and working with you on discovering some exciting new element of Drama.

Lets put on a play!!

Unit Rationale and Long Term Aims

Amanda Neufeld, Jenna Minor, Kristy McNeil
Unit Rationale:
Our play unit will be valuable for the students for several reasons as outlined in this rationale.
Firstly, It will cover a wide range of learner outcomes in several disciplines necessary for the
students as outlined in the Alberta Education Drama curriculum. By incorporating the learner
outcomes in this way the students are able to learn and master skills in acting, speech,
improvisation, technical theatre, and theatre studies in a holistic manner balancing skills off
others and learning them in context of relevant skills in theatrical settings, and building valuable
life skills. Through our work together developing the play for performance the students will hone
skills in technical aspects of theatre, confidence in performance, character building and
development, honing the craft of acting and performance, improvisation skills, and learning and
having an appreciation for all the aspects that go into mounting a fully staged performance. In
addition to gaining an understanding of theatrical skills our work will translate into general life
skills, by allowing students to practice team building, experience the satisfaction of achieving
both short and long term goals, public speaking and confidence skills, problem solving, time
management and cultivating empathy. This unit is also highly relevant, as it will build off
previous skills attained in Drama 10, such as; character work, improvisation, make up and props
building and previous performance skills while also being flexible enough in its approach to
allow for adaptation for student diversity and needs. This will allow the students to develop a
through line connecting all skills as valuable in cultivating a well-rounded theatrical proficiency.

Long Term Aims:

Students will be able to create a specific and detailed character body and voice through
the use of Laban and other character building exercises.
Students will be able to demonstrate both exaggerated character traits and subtleties of
characterizations; moving characters from macro to micro.
Students will be able to sustain and utilize character traits within a improvised or planned
scene and in relation to interactions with others.
Students will be able to discover and explore defining character traits and background
using script clues, computer research, and synthesis from personal work and exploration.
Students will be able to explore key and supplementary objectives as they pertain to
character motivation, relationships and plot development.
Students will be able to discover and explore subtext within written dialogue for the
purpose of conveying and informing subtle meaning within a scene or between
relationships.
Students will be able to costume and make up a character based on identity, character
traits, script cues, and conveying mood or evoking an emotional response. Students will
be able to draft costume and makeup design templates and utilize them to build actual
costume for the character.
Students will be able to use costume, makeup, character body and voice, identity and
history, relationships, and dialogue cues to inform a character and move beyond the
script into the physical realm; displaying an informed character in an improvised settings
outside the world of the play and for use within the play.

Unit Evaluation Strategy:

Our evaluations for this Character sub unit include both; hard copy hand in components as well
as performance evaluation. Students are required to document their work with subtext,
objectives, and character discovery to demonstrate their thought and effort in this important
development work. As well, students must demonstrate their practical understanding of their
character work and practice their performance skills with a performance component. We think
this is the most comprehensive way to ensure that all skills have been mastered and have an
opportunity to be showcased in the classroom and demonstrated to the teacher.

Scope and Sequence for within the Play Unit- Drama 20

Ms. Neufeld, Ms. Minor, Ms. McNeil

Sub- unit (9 lessons): Exploration and discovery of a complex and well-defined

CHARACTER

****Work thus far in the unit leading up to character sub-unit: The play has been cast, we have read
and discussed the script, and we have began some scene study work.
Lesson 1: Fun with Laban!

Objectives:

Activities:

Evaluation

Acting 2: Create, select and sustain physical details of the character from scripted
material
Laban technique class: Review Laban effort actions from Drama 10
Guided Laban exercise to explore space, weight, time, and flow of their individual
character
Formative: In groups of 2-3 students improvise a meeting between characters
with their exaggerated character bodies. Teacher will observe the work of the
students within these interactions

Lesson 2: Character Support Group

Objectives:

Activities:

Evaluation:

Speech 18: Demonstrate spoken interpretation is affected by characterization

Begin with review Laban work
Review process of getting into character body
Explore and refine both the exaggerated and realistic forms of the character body
using dial it up or down activity
Party Guest activity: Students go to a party (where space and attributes of
space have been defined by students collectively), and in character interact with
the party guests.
Open hot seat: Character Support Group (like AA meeting) students sit in chairs
in a circle and introduce themselves like AA meeting, students can ask anyone a
question but must also respond to it themselves
Formative: Assess how students handle open hot seat, and how they respond to
student and teacher questions within their character. Are they getting it.

Lesson 3: Ghost of character Past, Present, and Future

Objectives:

Acting 4: Demonstrate understanding that a characters behavior is motivated by

past, present and anticipated future experiences
ICT objectives:
o Day 1: C6 4.2- Use technology to organize and manage information;
C7 4.1- Use appropriate strategies to locate information to meet
personal needs; F3 4.3- Respect ownership and integrity of
information

o Day 2: C1 4.4- Communicate through persuasive and engaging

speeches in which students will apply information about context
and purpose using technology; P3 4.2- support communication
with appropriate images, sounds, and music.

Activities:

Evaluation:

Day 1: Teacher led discussion on importance of understanding background and

history of character/ relationships etc.
Lab time to do research for this purpose
Day 2: Write up answers to guiding questions- present findings
Formative: Have the students present their character background findings
Summative: Hand in sheets, teacher will evaluate with rubric depth and detail of
character discovery

Day 4: Character id: I WANT, I WANT, I WANT!!!

Objectives:

Activities:

Evaluation:

Acting 6: Demonstrate a characters immediate or moment to moment objectives

within a scene.
Reviewing scenes
Discuss importance of objectives for character (show examples) and mark them
in script
Do objective driven scene: students act out scene replacing lines with I want
objectives, saying what they want from the other character in replacement of
scripted lines maintaining structure of the scene
Formative: Observe the students objective scenes, comment on what works and
what doesnt allowing students to critique and advise peer work.
Summative: Students will hand in scripts with objectives marked in for each line
(based on rubric).

Day 5: Commentary: The Musical

 Objectives:

Activities:

Evaluation:

Acting 17: Create and use and interior monologue.

Discuss subtext in the context of interior monologue
Movie Commentary- Students act out their scene as normal, at any point
teacher can use magic remote to pause the scene and replay the moment with
commentary on (students replay moment with interior monologue of whats
going on)
Formative: students work within commentary exercise. Do they understand and
can they implement interior monologue.

Day 6: Read between the lines, man!!

Objectives:

Activities:

Evaluation:

Speech 19: Examine the affect of subtext upon spoken interpretation.

Now that students have explored interior monologues have students write their
subtext for each spoken line
Perform scene as a whole using subtext inform their performance and
interactions within the scene.
Formative: Observe their use of subtext within their scene, respond to teacher
and student questions and critiques.
Summative: Hand in their scripts with subtext notated in the scene for marking
(based on rubric), they will receive feedback from the teacher as well.

Day 7: Im a m-model, if you know what I mean

 Objectives:

Activities:

Evaluation:

Costume 3- Recognize the importance of artistic unity in costume design.

Costume 6- Demonstrate understanding of the value of sketch as a tool in
creating and communicating ideas in costume design.
Makeup 10 (review)- Prepare makeup chart for a specific character.
Discuss the importance of costume for character identity
Sketch character costume ideas based on understanding of character work so far
(ideal character costume- not necessarily what will be staged)
Review makeup from Drama 10 and sketch makeup chart with face handout
Students explore costume room for available pieces that work for their sketch
Formative: Students do a catwalk fashion show (in character body) and interview
(in character voice) discussing their costume choices to interviewer. ie Who are
you wearing and why?
Summative: Students will turn in sketches for marking and comments with predefined rubric.

Day 8: Im ready for my close up, Mr. Deville

Objective:

Theatre Studies 3- Recognize the elements of critique

Review of all objectives used so far in character sub-unit

Review all the elements of character

Formal hot seat: each student must enter, sit and respond using character body,
voice, identity, history and costume to a series of questions prompted by the
teacher and students. (*may need 2 classes to complete*)

Activities:

Evaluation:

Using rubric, assess completeness and commitment of character work by the

student, and how the work has informed their responses.
CHARACTER WORK ACCOMPLISHED!!!!!!

S&S Chart for Unit Plan: Play Unit (Character Work: Exploration and discovery of a complex and well-defined CHARACTER)
Grade: Drama 20 ****Work thus far in the unit leading up to character sub-unit: The play has been cast, we have read and discussed
the script, and we have begun some scene study work.
Lesson # 1
Lesson # 2
Lesson # 3
Lesson # 4
Fun With Laban!
Character Support Group.
Ghost of Character Past,
Character id: I WANT, I WANT, I
Title of
Present and Future.
WANT!!!
Lesson

Lessons
Objectives

One 80 minute Class

- Key: Acting 2, Improv 36.
- Supplementary: Acting 7,
Acting 10.

One 80 minute Class

- Key: Speech 18
- Supplementary: Improv 33, 34, 36,
Acting 1, 2, 4, 7, 9.

Activities

- Laban technique class:

Review Laban effort actions
from Drama 10.
- Guided Laban exercise to
explore space, weight, time,
and flow of their individual
character.

Evaluation

Formative: In groups of 2-3

students improvise a meeting
between characters with their
exaggerated character bodies
Teacher will observe the
work of the students within
these interactions and make
notes on students work and
understanding.

- Begin with review Laban work and the

process of getting into character body
- Explore and refine both the exaggerated
and realistic forms of the character body
using dial it up or down activity
- Party Guest activity: Students go to a
party (where space and attributes of space
have been defined by students
collectively), and in character interact
with the party guests.
- Open hot seat: Character Support
Group (like AA meeting) students sit in
chairs in a circle and introduce themselves
like AA meeting, students can ask anyone
a question but must also respond to it
themselves. (Use talking stick from
Orientation)
Formative: Assess how students handle
open hot seat, and how they respond to
student and teacher questions within their
character. Are they getting it?

Two 80 minute Classes

- Key: Acting 4.
- Supplementary: Acting 7,
9, 10, 12, 13, 15.
- ICT: C1 4.4, C6 4.2, C7
4.1.
Day 1:
- Teacher led discussion on
importance of
understanding background
and history of character/
relationships etc.
- Lab time to do research
for this purpose
Day 2:
- Write up answers to
guiding questions than
present findings

One 80 minute Class

- Key: Acting 5, 6, Speech 19.
- Supplementary: Acting 4, Improv 33,
36, Speech 18.

- Formative: Have the

students present their
character background
findings.
- Summative: Hand in
sheets, teacher will evaluate
with rubric depth and detail
of character discovery.

- Formative: Observe the students

objective scenes, comment on what
works and what doesnt allowing
students to critique and advise peer
work.
- Summative: Students will hand in
scripts with objectives marked in for
each line (based on rubric).

- Reviewing scenes
- Discuss importance of objectives for
character (show examples) and mark
them in script
- Do objective driven scene: students
act out scene replacing lines with I
want objectives, saying what they
want from the other character in
replacement of scripted lines
maintaining structure of the scene

Scope and Sequence Chart for Unit Plan:

Title of
Lesson

Lessons
Objectives

Activities

Evaluation

Grade: Drama 20

Date:

Lesson # 5
Commentary! The
Musical.

Lesson # 6
Read between the lines, man!!

Lesson # 7
Im a m-model, if you know what I mean

Lesson # 8
Im ready for my close up,
Mr. Deville.

Two 80 minute Classes

- Key: Acting 17
- Supplementary: Acting
4, 5, 6, 7, 8, Improv 33,
36, Speech 18, 19.
- ICT: P6 4.1
Day 1
- Discuss Subtext in the
context of interior
monologue
- Script work.
- Film Scenes.
Day 2
- Movie Commentary
Students supply subtext
for filmed Scene.

One 80 minute Class

- Key: Speech 19
- Supplementary: Acting 4, 5, 6, 7, 8,
Improv 33, 36, Speech 18

Two 80 minute Classes

- Key: Costume 1, 2, 6, 8.
- Supplementary: Acting 1, Improv 33,
Makeup 9, 10.
ICT: F3 4.3, P3 4.2, C5 4.2.

Two 80 minute Classes

- Key: Theatre Studies 3,
Speech 21.
- Supplementary: Improv
33, 36, Acting 2, 4.

- Now that students have explored

interior monologues have students
write their subtext for each spoken line
- Perform scene as a whole using
subtext inform their performance and
interactions within the scene.

- Review all the elements of

character
- Formal hot seat: each
student must enter, sit and
respond using character
body, voice, identity,
history and costume to a
series of questions
prompted by the teacher
and students. (*may need 2
classes to complete*)

Summative: How well the

subtext matches the scene,
and the understanding of
subtext.

- Formative: Observe their use of

subtext within their scene, respond to
teacher and student questions and
critiques.
- Summative: Hand in their scripts
with subtext notated in the scene for
marking (based on rubric), they will
receive feedback from the teacher as
well.

Day 1
- Discuss the importance of costume for
character identity
- Review makeup from Drama 10 and sketch
makeup chart.
- Sketch character costume ideas based on
understanding of character work so far
- Students explore costume room for
available pieces that work for their sketch
Day 2:
- Students do a catwalk fashion show and
interview (in character) discussing their
costume choices to interviewer (the teacher).
Summative: Students will turn in sketches for
marking and comments with pre-defined
rubric.

- Using rubric, assess

completeness and
commitment of character
work by the student, and
how the work has informed
their responses.

Total 20% of overall Play Unit (60% of Final Grade)

Play Unit Overview

Ms. Neufeld, Ms. Minor, Ms. McNeil
Sub- unit (9 lessons): Exploration and discovery of a complex and well-defined CHARACTER

In this 2-week unit we will explore the key components and practical application of character development.
Prior to this unit we have explored scene study, script work and analysis, and improvisation necessary to
begin our work on character building. Following this unit we will be able to immerse ourselves in play
development, blocking scenes, set and costume design and ongoing objectives and relationship for the
performance of our play.
Break down of Character Unit:

Laban Review and Exploration (1 lesson)

Character Support Group- Explore Character choices within an Improv Scene (1 lesson)

Ghost of Character Past, Present, and Future- Who are you, really? (1 lesson)
Evaluation: 10% - Submit character background write-ups

Character id.- What are your Objectives (1 lesson)

Evaluation: 10%- Demonstration of objectives within a chosen scene and submit
objective notation on scripts.

Subtext Commentary- What are you really saying. (2 lesson)

Evaluation: 10%- Subtext commentary remote: Perform scene with the ability to pause
and re do moments expressing the subtext of the moment.

Internalized Subtext in a Scene (1 Lesson)

Evaluation: 10% - Perform scenes using integrated subtext, hand in script with subtext
notation

Character Runway and Photo-shoot (2 lessons)

Evaluation: 10% - Perform in catwalk fashion show and interview in character and
hand in all sketches.

Show me what you got!- Hot Seat(2 lessons)

Evaluation: 35% - You will be evaluated based on your work leading up to hot seat and
performance within the hot seat. Hand in scripts to demonstrate work throughout unit.

Participation within Unit: 10%

Including; attendance, willingness to explore and discover character elements, active
participation in all exercises, respectfulness of others and constructive critique of self and peers.

Subject: Drama 20

Class/Date: Jan 27, 2014

Lesson #1

Unit: Play Unit- Character sub unit

Topic: Fun with Laban (Character body

exploration)

Lesson Objectives:
Main- Acting 2: Create, select and sustain physical details of the character from scripted material.
Supplementary- Improv 36: Integrate improvisational skills learned, in planned and spontaneus improv.
Acting 7: Demonstrate the ability to play a character from the characterspoint of view
Acting 10: Critique the work of self and others through observation of specific detail
Materials:
Laban Effort Action Chart, pen/pencil, paper
Time:
Introduction/Warm-ups:
Play Captains Coming to get them moving
o Sub motifier: Any game that has them physically active and listening to
instructions will work well.
Teacher guided physical warm up and stretch

5 min
5 min

10 min
Check in:
Review Laban Effort Actions with the class from Drama 10
15 min
Activities:
Teacher lead Laban exercise allowing students to explore the various elements of
space, weight, time, and flow and how they work in conjucntion with one-another.
Introduce character focus- have students explore different elements of character body
as they may pertain to their own character.
Challenge students to go fully into exaggerated character body and to begin interacting
with the other characters and the space around them.
Guided Day in the life of exercise where students go through a day for this
character from waking to sleeping.
Have students slowly dial down their exagerrated character bodies into subtle physical
attributes of the character.
Have students write down their discoveries and laban action elements, what worked
and what could use some more exploration, and what they learned about their
character from the day in the life exercise
Closure:
Have students return to the circle and share the most exciting thing they discovered
about their character and, if they know, what type of character body they have
(wringer, floater, slasher, etc.)
Student Evaluation:
Formative:
- Students do day in the life exercise which
teacher observes and makes note of

Misc/Business:

10 min

5 min
15 min
5 min
5 min

5 min

commitment to the exercise and

understanding.
- Students discuss, in circle, their discoveries
and hand in sheet.
Lesson Critique:

EIGHT BASIC EFFORT ACTIONS:

LABANS MOVEMENT THEORY
Terms:
1. Kinesphere: space within our reach, or our personal space. It moves with you as you travel.
2. Dimensions:
a. Up-down (high, middle, deep)
b. Left-right
c. Forward-backward
d. Diagonal
3. Flow of Movement:
a. Bound flow can be stopped at any time (pause).
b. Free Flow difficult to stop suddenly.
4. Space: Movement can be linear (direct) or curved (flexible).
5. Time: Time can be very personal or cultural. Modern transport allows us to travel faster and further
than in the past. Time zones can be crossed. Life used to be governed by the seasons. Spring was the
awakening and planting time, summer was the ripening time. With autumn came the harvesting time,
and winter was the resting time. Today we have an inbuilt clock and a 24 hour clock. Speed is still a
flexible term, depending upon the influences and circumstances.
6. Weight: Our ability to stand upright depends on the tension between the upward force of our bodies
and the downward pull of gravity. Weight must be distributed or we may lose balance. Moving the
body anywhere in space requires energy along a light to strong continuum. A small bounce requires
only light force, whereas a pole-vaulter needs a stronger force to leave the ground.
#
1
2
3
4
5
6
7
8

EFFORT
PRESS
FLICK
WRING
DAB
SLASH
GLIDE
Thrust (punch)
Float

TIME
Sustained
Sudden
Sustained
Sudden
Sudden
Sudden Sustained
Sudden
Sustained

SPACE
Direct
Indirect (flexible)
Indirect
Direct
Indirect
Direct
Direct
Direct Indirect

FORCE
Strong
Light
Light
Light
Strong
Light
Strong Light
Light

1. Pressing: Sustained, direct, strong.

a. Feel it first with palms of hands.
b. Press forward and downward, and diagonally across the body.
c. Extend your pressing activity into all spatial directions, and into high, medium, and low zones.
d. Let the other parts of body lead in pressing, for example, the back, the knees, top of head, and
elbows or feet.
e. Let two parts of body press simultaneously in two different directions, such as: right palm up,
left hip down.
f. Press simultaneously in three different directions, for example: head backward, hips forward,
elbows outward, away from their sides.
g. Press down with feet as they walk, taking the body in different directions.

h. Try pressing in kneeling, sitting and lying positions as well as standing.

i. Try pressing as a transition from one position to another.
j. Combine (e) and( f) with( g),( h), and (i).
2. Flicking: Sudden, Flexible, Light
a. Imagine a fly alighting on food or dust on your jacket. Flick it away with your hands by quickly
twisting the wrists and fingers.
b. Move on to flicking in every part of your kinesphere , near to the body, far away, use high,
medium and low zones, directions should include backward and forward and sideways.
c. Try flicking with your shoulders, head and feet. The most important zone for flicking hands is
high, outwards and backwards. But it is essential to try in all directions, with the hands working
simultaneously or alternatively, in the same time, or in different, directions.
d. Continue the explorations with flicking by involving the elbows, hips and knees.
e. Try jumping, flicking the feet in the air. Flicking the feet rhythmically on the floor gives rise to a
light tap dance effect or a soft shoe shuffle.
f.

As in pressing, flicking can be performed in kneeling, sitting, or lying positions and be used as a
transition from one position to another.

g. Repeated flicking produces a fluttering movement. When the whole body is involved, there is a
sense of intense lightness and buoyancy. In pressing there is a battle with outside resistance, in
flicking we can yield to the feeling of lightness, thereby indulging in the weight.
h. Flicking is flexible in the use of space and may be multi-directional. It is crisp and light.
i.

The lightness and speed of flicking is sometimes referred to as fine touch. Other fine touch
actions include light stirring, floating, gliding, dabbing, wafting, and tapping.

3. Wringing: Sustained, Flexible, Strong

a. Try wringing out clothes movement first.
b. Imagine you are, literally, a wet blanket and try wringing yourself out! For exercise purposes,
practice wringing in a deep, forward and outward zone. Move to both sides right and left.
c. Try wringing in all zones and in all directions of the kinesphere.
d. Remember to try simultaneous and alternate movements of different parts of the body into
different directions or into the same direction.
e. Stand, lie, sit or kneel to perform the action and use it as a transitional movement.
f.

Examples of wringing where concrete resistance by an object is offered are: washing, knotting,
twisting or untangling ropes. Where no concrete resistance exists, strong counter-tension is
necessary and can be felt throughout the body.

4. Dabbing: Sudden, Direct, Light. The basic effort of dabbing is usually performed with free flow but
can, when necessary also be performed with bound flow.
a. This action is clearly felt in the hands as in a painter dabbing at a canvas or in typing. Try
dabbing with the right side leading across the body, diagonally backwards, over the opposite
shoulder. Repeat with the left side leading.
b. Dab with the feet. It is easy to quickly point the heels or toes. Try in all directions and in all
zones.
c. Try with the knees, hips, shoulders, head, elbows, chin, back, and chest. Take plenty of time to
experience dabbing in all these parts of the body. Try simultaneous and alternate movements.
d. Try the action with steps. Knees can dab upwards and toes or heels downwards.
e. When dabbing at a concrete object 9canvas, typewriter), we experience resistance. However,
dabbing in the air requires our muscles to produce the necessary counter-tension which can be
felt throughout the body even if only one finger is involved in the action.
5. Slashing: Sudden, Flexible, Strong. Slashing is usually performed with free flow which tends to fade
out into floating.
a. A good pathway in which to experience the feeling of slashing is from high forward, across the
body to downwards, outwards, and backwards. One arm should lead the effort. Then change to
the other.
b. Try the arms slashing separately in all directions.
c. Now try each leg separately.
d. Continue with all the possibilities mentioned for the other actions, i.e. limbs separately or
together, kneeling, sitting, lying or standing; all directions, including inwards and outwards and
moving in different zones.
e. Use slashing as a transition from one position to another.
f. Large jumps give good opportunities for slashing movements of the legs, arms or trunk. Slashing
aimed at a concrete object encounters resistance.
6. Gliding: Sustained, Direct, Light. Gliding is usually performed with bound flow.
a. Imagine you are smoothing something horizontally, the palms of the hands parallel with the
floor or vertically, with the palms facing forward. Or again, let the palms face inwards as one
removes imaginary cobwebs in front of the body. The most important zone is across the body
diagonally forward high but, as with other efforts, you must take the exercise into all zones, all
directions, using different parts of the body, some simultaneously, some alternately.
b. Alternate legs can glide over the floor as steps or gestures through space.
c. Gliding with the trunk results in a smooth swaying movement.
d. Remember it can also be used as a transition from one position to another. In gliding along a
concrete object we meet with resistance. Gliding in the air brings about a counter-tension felt
throughout the whole body, giving the feeling of controlled boundness. As a result, the
movement can be stopped at any given moment. Bound movements in the air rely on the
antagonistic muscles to control the action. Other actions tending to be bound are those of
wringing and pressing and their derivatives. Thrusting can be performed with bound or free
flow. The action of gliding fights against Space but indulges in Weight and Time.
7. Thrusting or Punching: Sudden, Direct, Strong. Can be performed with bound or free flow.
a. Try to make a fist of the hands and punch forcibly at some imaginary object. The main zone for
this exercise is punching with one arm and fist across the body attacking a target deep (low)
backward

b. Thrusting or punching with the legs becomes stamping.

c. Try with other parts of the body, head-butting, elbows, shoulders, knees, hips.
d. Explore your kinesphere in all directions and zones, using the parts of your body simultaneously
or alternately. One doesnt need to remain standing. It is possible to punch in a kneeling, lying
or sitting position. In a lying position, the feet can punch into the air.
e. With a reel target, one encounters a natural resistance; the most obvious examples are a
punching bag used by boxers or two fighters in the ring. Where there is no concrete object to
resist our punch, we need the counter-tension of the antagonistic muscles which should be felt
throughout the body, no matter what part of it is leading the action.
f. The essential characteristics in punching involve fighting against Weight, Space and Time.
Therefore, there is no indulgence in this action, no yielding either to lightness or flexibility and
no yielding to sustainment of the movement.
g. An abrupt or sudden muscular reaction prevails in quick movements, including such actions as
flicking, slashing, dabbing and, of course, thrusting.
8. Floating: Sustained, Flexible, Light. Floating can be with bound or free flow.
a. The action of floating is felt momentarily in a leap when the energy for take-off has subsided
and before descent occurs. On waking, one can also experience it as a slight stirring of the
resting body during respirations.
b. The most important zone for floating is high, forwards and outwards.
c. Now try floating in all directions and zones as in previous effort exercises.
d. Try floating downwards as well as upwards, with different parts of the body leading alternately
or simultaneously.
e. Float or fly with the legs or touch the floor very lightly on tiptoe.
f. Attempt the effort sitting, lying and kneeling as well as standing.
g. Use floating as a transition from one of these positions to another. If one needs to use floating
as in very lightly stirring a liquid, then the liquid is an object offering resistance, however slight.
Without any external resistance, as in a leap through the air, the body employs sets of muscles
in a counter-tension, thereby helping to overcome the weight of the body momentarily. The
tensions must be kept to a minimum to achieve a floating movement.
h. In this action there is no fighting against. Here all is indulgence, i.e. the essence of floating is
one of indulging in or yielding to Time, Weight and Space. We indulge in our lightness, sustain
our movement and wander around smelling our flowers in Space. Counter-tensions are very
slight and multi-lateral in floating but nonetheless sustain the muscular function of the effort.
Pressing, gliding, wringing and their derivatives are all examples of sustained actions.
Laban calls these dynamic qualities secondary tendencies.
The six fundamental directions of the Dimensional Scale also contain their own dynamic qualities, giving
rise to such feelings as:
1. Lightness, associated with upward or High direction.
2. Strength, associated with downward of Deep direction.
3. Restriction. A movement across the body, producing a straight or Direct movement.
4. Freedom of movement associated with the bodys open side, leading to Flexibility.
5. Suddenness as in fear, resulting in the bodys contraction Backward.
6. Sustainment, as tension is slowly released, leading the body in the opposite directions, i.e.
Forwards.

LABAN EFFORT ACTIONS CHART

K. McPhail 2011
Subject: Drama 20

Lesson 5: Commentary!
The Musical!

Unit: Play

Topic: Subtext.
Instructional Strategies:
Grouping Strategies: Scene groups based on
Script.

Lesson Objectives (SLES):

Key SLES:
- Acting 17 -> Create and use an Interior Monologue.
- Speech 19 -> Examine the effect of subtext upon spoken interpretation.
- ICT Division 4 P6 4.1 -> Select and use the appropriate technologies to communicate effectively
with a targeted audience
Supplementary SLES:
- Speech 18 -> Demonstrate that spoken interpretation is affected by characterization.
- Speech 19 -> Examine the effect of subtext upon spoken interpretation.
- Acting 4 -> Demonstrate understanding that a characters behavior is motivated by past, present
and anticipated future experiences.
- Acting 5 -> Demonstrate a characters main objectives within a scene.
- Acting 6 -> Demonstrate a characters immediate or moment-to-moment objectives within a scene.
- Acting 7 -> Demonstrate the ability to play a character from the characters point of view.
- Acting 8 -> Demonstrate the ability to memorize required text.
- Improv. 33 -> Sustain a single character in a variety of situations.
- Improv. 36 -> Integrate improvisational skills learned, in planned and spontaneous improvisations.
Teacher Objectives: The students will....
- The student WILL be able to create and use an Interior Monologue.
- The student WILL be able to examine the effect of subtext upon spoken interpretation.
- The student WILL be able to demonstrate understanding that a characters behavior is motivated by
past, present, and anticipated future experiences.
- The student WILL be able to use video cameras to communicate effectively with their classmates.
Also:
- The student MAY be able to demonstrate a characters main objectives within a scene.
- The student MAY be able to demonstrate a characters immediate or moment-to-moment
objectives within a scene.
- The student MAY be able to demonstrate the ability to play a character from the characters point
of view.
- The student MAY be able to demonstrate the ability to memorize required text.
- The student MAY be able to sustain a single character in a variety of situations.
- The student MAY be able to integrate improvisational skills learned, in planned and spontaneous
improvisations.
Materials: Students needs their scripts, and a writing utensil.
Handouts: N/A
Teaching Aides: Master script, rubrics.
Technology/Other: Camera(s), video projector.

K. McPhail 2011
DAY 1
Introduction/ Anticipatory set/Warm-ups:
-> Teacher guided stretching, physical warm-up, and vocal warm-up.
-> Play Game: Fortunately/Unfortunately.
-> Choose a partner; one is A, one is B. A starts a story that begins with
fortunately. B continues the story with Unfortunately. (Example: A- Fortunately I won
the lottery. B- Unfortunately I lost the ticket. A-Fortunately my brother found it in his
drawer.) And so on. Switch after a while. ** From Improvisation text

Time:

Check in:
-> Refresh main objectives and I want statements with students.
-> Subtext: What the words mean to the character who is speaking, which may
not be what the words say on the surface. ** Definition form Curriculum Support
Resource

5 mins.

Activities:
-> Relate main objections and I want statements to subtext. Discuss subtext in the
context of interior monologue. Introduce activity for the next two days.
-> Go through 3 script examples and get students to discuss amongst the class what
might be the subtext of their characters dialogue.
-> Get students to pick out different scenes that are around 3 minutes in length that
involve two or three characters. (No character should be used twice, exception may
apply. Use discretion.)
-> Students film scene in groups. Two groups together -> One group films the other
groups scene, and then they switch. (Students are to leave a pause after every line, even
if their characters cut each other off.) Edit video if necessary.
-> Once video is complete, have students go through their scenes and write possible
subtext on their script for the scene they just performed.
Closure/Debrief:
-> Gather students and ask about any issues they may have with what subtext their
characters may have.
DAY 2
Introduction/ Anticipatory set/Warm-ups:
-> Teacher guided stretching, physical warm-up, and vocal warm-up.
-> Play Game: Gibberish.
-> Choose a partner; one is A, one is B. Each thinks up a situation or
problem, and then, using only gibberish (no gestures), try to communicate their problem
to their partner. A begins.
-> Next round. Try communicating either the same or a different problem,
only using numbers. B begins.
-> Next round. Get in groups of four or five. As cave people, one chosen
person will have to explain using gibberish and gestures to explain to the rest of the
group something strange they have just seen. Other group members use gibberish to ask
questions in order to find out more information. *** Improvisation text.
Check in:

10 mins.
10 mins.

5 mins.
5 mins.
5 mins.

20 mins.
15 mins.

5 mins.

10 mins.
20 mins.

K. McPhail 2011
-> See if all of them have their scene subtext written in their script. Ask if they had/have
any troubles with subtext still.
Activities:
-> Get students to look over their script subtext.
-> With their scene partners, they will be dubbing over the video with their
subtext/interior monologue of their scene out loud as the video plays. The video will be
on mute. (If the students find this too difficult or over-whelming. The other option is to
play they video with sound, and then pause it, and have the students reenact the few
lines with their subtext.)
Closure/Debrief:
-> Discuss with the class what they have learned.
Student Assessment/Evaluation:
Formative: Students work within commentary
exercise. Do they understand and can they
implement interior monologue.

5 mins.

40 mins.

5 mins.
Notes:
- There is a rubric to mark students on work.

Summative: Performed subtext of scene with

the ability to dub or pause and (re-do) moments
expressing the subtext of the moment.
Diagnostic:

Lesson References:
- Alberta Education. Curriculum Support: Teacher Resource Manual. Drama High School. 1989.
- Commentary! The Musical image from -> http://4.bp.blogspot.com/wcTZ5rZ0f8Y/UMa3M2P1h4I/AAAAAAAATSA/Zh12Shmvs0M/s1600/commentary.png
- Improvisation. Learning through Drama. By: David W. Booth and Charles J. Lundy. 1985.

Lesson Reflection:

Subject: Drama 20

Class/Date: Jan. 27th , 2014

Lesson # 07

Unit: Play unit (Character work)

Topic: Im a m-model, if you know what I mean

(costume/makeup design)

Lesson Objectives:
Acting
1. Analyze a ascript for explicit character clues
Improv
33. Sustain a single character in a variety of situations
Costume
The student will be able to:
1. Demonstarte understanding of the purpose of costume
3. Recognize the importance of artistic unity in costume design.
6. Demonstrate understanding of the value of sketch as a tool in creating and communicating ideas in costume design.
8. Prepare rough costume plot based on the script
Makeup
The student will be able to:
9. Demonstate understanding of symbolism and psychological implications of color, txture, line and shape
10. Prepare makeup chart for a specific character. (review)
ICT Outcomes:
F3 4.3. Respect ownership and integrity of information
P3 4.2. Support communication with appropriate sounds, images, and music
C5 4.2. Participate in a variety group formats
Materials:
Paper, pencils, pencil crayons, markers, glitter glue, other art supplies, music, camera, costume pieces.
(Etc.)
Time:
Day 1:
Introduction/Warm-ups:
-This is a ____
Students will arrange themselves in a circle. The object of this game is to pass as many objects simalatiously
without getting confused or making mistakes. The objects will be passed starting from the teacher to the students
starting on the teachers right hand side. It will be the teachers job to introduce new objects to the circle.
The interacation will go like this:
Person 1: This a Pen.
Person 2 and Person 1: A What?
Person 1: A pen
Person 2: Oh a pen.
Eventually everyone will be talking at the same time as more objects are introduced to the circle
- Check in
- Review what we have covered in Character design so far
-Discuss the importance of costume for character identity
-Review makeup from Drama 10 and sketch makeup chart with face handout

10 mins

10 mins

Activities:
-Sketch character costume ideas based on understanding of character work so far
(ideal character costume- not necessarily what will be staged)

20 mins

-Students explore costume room for available pieces that work for their sketch
30 mins
Closure:
-Ask the students to return to the circle and go around and share one thing they learned today as a result of the
days activities.

10 mins

-Remind students to hand in their make up sketches before leaving class

Day 2:
Introduction/ Warm-ups:
- Teacher lead exercise having students lead from different body parts and how it affects character
Students will walk around the space and the teacher will call out different body parts ie: Feet, Hands, Hips,
Chest, etc.

10 mins

Check in
- Review costume choices from the last class, prepare for fashion show
5 min
Activities:
-Students do a catwalk fashion show (in character body) and interview (in character voice) discussing their
costume choices to interviewer(the teacher). ie Who are you wearing and why?
-During the time the students are drawing their costumes and looking for costume pieces the teacher will set up a
photo booth for the students to use in coastume/ in character after the catwalk. The teacher will take pictures of
the students in various poses to use in discussion later and receive feedback from both the teacher and
classmates. (either instantaneously or during the next class)
Closure:
-Ask the students to return to the circle and go around and share one thing they learned today as a result of the
days activities.
-Student feedback of what works and does not work for photos of costume.
-Remind students to hand in their costume sketches before leaving class
-Clean up any messes and take down photobooth
Student Evaluation:
-Summative:
Students do a catwalk fashion show (in character body) and
interview (in character voice) discussing their costume
choices to interviewer. ie Who are you wearing and why?
Students will turn in sketches for marking and comments
with predefined rubric.
Lesson Critique:

Misc/Business:

40 min

15 min

10 min

Costume Selection and Catwalk Rubric

Category

Selection of Costume

Questions

Personal Growth and

Risk taking

Total:
/9

Plus
(3)

Equals
(2)

Minus
(1)

(Exceeds expectations)

(Meets expectations)

(Does not meet

expectations)

Student was on task

during the entire activity
or spent very little time
off task.
Costume pieces the
student selected were
appropriate for the
character.
Student demonstrates a
clear and easy to follow
thought process was
used in conjunction with
the selection of costume
pieces.

Student was on task

the majority of the
time; however had to
be reminded a few
times to stay on task.
Costume pieces the
student selected were
appropriate for the
character.
Student demonstrates
that some thought was
put into selecting
costume pieces.

Student spent very

little time on task and
had to be reminded
several times to stay
on task.
Costume pieces the
student selected were
not appropriate for
the character
Student demonstrates
that very little or no
thought was put into
selecting costume
pieces.

Student provided
concise, detailed answers
with a considerable
amount of depth when
posed questions about
the reason for choosing
their costume pieces.
Student took a
considerable amount of
risks.
The amount of growth
shown by the student
exceeds expectations.

Student provided
answers of sufficient
depth when posed
probing questions
about the reason for
choosing their costume
pieces.
Student took a few
risks in the pieces they
chose.
Student shows a
sufficient amount of
personal growth

Students answers
were lacking in depth
when posed probing
questions about the
reason for choosing
their costume pieces.
Student took no risks
in the costume pieces
they chose.
Student shows
extremely little or no
personal growth.

Costume and Make-up Rubric

Student: __________________

Excellent (4)

Good (3)

Satisfactory (2)

Needs
Improvement (1)
Little to no
distinction
between character
and actor, and
does not
demonstrate how
costume evokes
an emotional
response from
audience.

Understand the
Purpose of
Costume

Clear distinction
between character
and actor, and
demonstrates how
a costume evokes
an emotional
response from
audience.

Obvious distinction
between character
and actor, but
missing some
elements. As well,
demonstrates how
a costume evokes
an emotional
response from
audience.

Adequate
distinction
between
character and
actor, and
demonstrates
how costume
can evoke an
emotional
response from
audience.

Artistically Unified
Costume Design

Aesthetic use of
color, shape,
texture, and line of
costumes. As well
as exceptional
creative growth.

Thoughtful use of
color, shape,
texture, and line of
costumes. As well
as strong creative
growth.

Adequate use of
color, shape,
texture, and line
of costumes. As
well as
sufficient
creative growth.

Little to no use of
color, shape,
texture, and line of
costumes. As well
as little to no
creative growth.

Costume
Plot(rough) and
Sketch

Highlighted all
details in script to
influence plot.
Sketch is used
appropriately to
communicate ideas
for costume design.
Sketch is
completed in
exceptional detail.

Highlighted many
details in script to
influence plot.
Sketch is used to
communicate ideas
for costume design.
Sketch is
completed in
detail.

Highlighted a
few details in
script to
influence plot.
Sketch touches
on ideas for
costume design.
Sketch is
completed in
minimal detail.

Highlighted little
to no details in
script to influence
plot. Sketch does
not communicate
ideas for costume
design. Sketch is
incomplete.

Prepared a Makeup Chart

Make-up chart
clearly shows
symbolic and
psychological uses
of color, texture,
line, and shape.

Make-up chart
shows strong uses
of color, texture,
line, and shape.

Make-up chart
shows minimal
use of color,
texture, line,
and shape.

Make-up chart not

completed.