Ryan and Sean - Unit Design

Exploring Stories of Latinx
Experiences in Our Community

through Oral Spanish
Performance
By Ryan Campeau & Sean Wood
Olympia School District

11th/12th grade Advanced Drama & Year 3-4 Spanish
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TABLE OF CONTENTS
Introduction to unit: unit summary, essential questions, and principles …………………. 3

Stage 1 - Desired Results/Guiding Standards ………………………………………….….. 4
Stage 2 - Assessment Evidence .……………………………………………………………. 6
Stage 3 - Learning Plan .……………………………………………………………………… 8
Summative Assessment ……………………………………………………………………...11
Evaluation Criteria …………………………………………………………………………… 12
Pictorial Input and Images ……………………………………………………………………14
Home/School Connection ………………………………………………………………........17
Groupworthy Task: Task Card ………………………………………………………........…23
Groupworthy Task: Multiple Ability Treatment ……………………………………………..25
Groupworthy Task: Role Cards ……………………………………………………………...26
Groupworthy Task: Norms ……………………………………………………………..........27
Instructional Strategy Toolkits …………………………………………………………...…..28
Theater Arts: Lesson Plan 1 ……………………………………………………………….. 37
Theater Arts: Lesson Plan 2 ……………………………………………………………….. 44
Spanish: Lesson Plan 1 ……………………………………………………………………. 52
Spanish: Lesson Plan 2 ……………………………………………………………………. 58
Teacher Resources ………………………………………………………………………..... 64
Student Resources ………………………………………………………………………….. 67
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Introduction to Unit
Unit Summary: Spanish and theater students will collaborate to explore experiences of
Spanish-speaking Latinx in our community. Spanish students will conduct interviews
with Spanish speakers in their community, transcribe, and translate the texts. Then,
working with theater directors, groups will improvise and devise scenes exploring issues
and stories present in our community. Theater students will both mentor teams of
performers and publicize the production.
Essential Questions:
- What is the value of hearing and sharing personal stories?
- What is the value of understanding other people’s cultural norms when engaging in
dialogue with them?
- How can theater empower us and our communities?
- What are the stories of multilingual and immigrant peoples in our community?
Place-Based Principles:
1. Learning fosters explicit connections between in-class learning and students’
community/environment
2. Hands-on learning driven by student interests, questions, concerns, and needs
3. Learning empowers students to create knowledge, critique systems, and be
agents of change in their communities
Culturally Responsive Principles:

1. Ground content in students’ lived experiences and community knowledge
2. Relationships between teacher and students draw upon students’ knowledge and
respect to support rigor and challenge from a place of love
3. Classroom is a socially and intellectually safe space to support risk taking and
engage in higher order thinking necessary to become independent learners
Differentiation Principles:
1. Learning is supported by the environment and community
2. Curriculum organizes learning around essential knowledge, understanding, and
skills
3. Formative assessment is integral for planning, teaching, and the learning cycle
4. Exploring different modes and styles of instruction/learning tailored to individual
student needs
5. Teacher leads through adaptive and flexible practices that integrate student
choice and voice
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Stage 1 – Desired Results/Guiding Standards
Content 1: Spanish Content 2: Theatre Arts Language & Literacy
Language Collaboration &
1.3 - Presentational Connection 10.1.111a: Communication
communication: Learners Collaborate on a drama/theatre CCSS.ELA...11-12.1: Participate
present information, concepts, work that examines a critical effectively in a range of
and ideas to inform, explain, issue using multiple personal, collaborative discussions with
persuade, and narrate on a community, and cultural diverse partners...building on
variety of topics using perspectives. others’ ideas and expressing their
appropriate media and own clearly.
adapting to various audiences. Creation 3.1.111a: Refine,
5.1 - School and global transform, and re-imagine a Writing
communities: Learners use devised drama/theatre work, CCSS.ELA-LITERACY.W.11-
the language both within and using the rehearsal process to 12.4
beyond the classroom to invent or re-imagine style, genre, Produce clear and coherent
interact and collaborate in their form, or conventions. writing in which the development,
community and the globalized organization, and style are
world. Production 6.1.111a: Present a appropriate to task, purpose, and
3.1 Making Connections: drama/theatre production for a audience.
Learners build, reinforce, and specific audience that employs
expand their knowledge of research and analysis. Reading/Analysis
other disciplines while using CCSS.ELA-LITERACY.RI.11-
the language to develop 12.7
critical thinking and to solve Integrate and evaluate multiple
problems creatively. sources of information presented
3.2 - Acquiring information and in different media or formats as
diverse perspectives: well as in words in order to
Learners access and evaluate address a question.
information and diverse
perspectives that are available
through the language and its
culture.
Other relevant standard– sustainability

ESE Standard 1: Students demonstrate understanding of how the health of social and economic
systems determines the sustainability of human communities.
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Understandings: Essential Questions:
Students will understand that….
- People experience their society differently - What is the value of hearing and sharing personal
depending on their cultural and linguistic stories?
backgrounds.
- By engaging respectfully and humbly with - What is the value of understanding other people’s
people from other social, cultural, and linguistic cultural norms when engaging in dialogue with
backgrounds, we can learn from them and build them?
bridges across differences.
- Sharing and hearing personal stories in our - How can theater empower us and our
native/home languages can lead to greater communities?
understanding and empathy.
- Theater is one way we can attempt to - What are the stories of multilingual and immigrant
represent and understand other people’s stories peoples in our community?
in a way that empowers us and our communities.
Knowledge Skills
Students will know…. Students will be able to….
- Spanish vocabulary and questions relating to - Conduct oral interviews in Spanish
interviewing [see below]
- Transcribe and translate oral Spanish text
- Theater vocabulary: improv/improvisation,
devising/devised work [see below] - Improvise scenes around societal issues and
personal stories
- Basic performance skills (enunciation,
pronunciation, cheating out / face to audience) - Rehearse a devised piece from improvised
and elements of a devised theater piece material
- Culturally sensitive practices for interviewing - Work collaboratively with peers who operate with
individuals of diverse Latin/South American different knowledge and skills
backgrounds (transformative/qualitative
interviewing practices) - Intentionally plan and produce a devised theater
piece for a specific audience
- Tectonic Theater Project values and processes
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Stage 2- Assessment Evidence
Performance Tasks: Other Evidence:
Community performance of a devised, bilingual Text transcribed and translated from oral Spanish
Spanish/English theater piece that represents interviews
personal stories and societal issues from the
local Latinx community. Formative assessments/check-ins during rehearsal
process
Language demands: interview
Function: Production and marketing materials (posters,
Asking informational questions emails, programs, etc.) for the performance
Comprehending speech
Discourse:
Rubric-based self-assessments and summative
Interpersonal/interview
assessment on effectiveness as director of a group
Syntax:
Sentence structure and conditional verb form (in of performers
formal register) for questioning
Academic Vocabulary: See Below Rubric-based self-assessment on participation in
improvisation workshops
Language demands: performance
Function: Retelling of past events [See rubrics below]
Discourse: Presentational/theatrical retelling
Syntax: Indicative verb, declarative sentences, and
complex sentences
Essential Academic Vocabulary: Tier 2 & 3 words key to accessing the big picture concepts in this unit
10-20 Tier 2 words 10-20 Tier 3 words

Brainstorm Improv/improvisation
Interview Devising/devised work
Transcribe Production materials
Translate Cheat out
Direct/direction Projection
Rehearse/rehearsal Enunciation
Reflet/reflection Pronunciation
Assess/self-assess
Rubric Inmigración
Criteria Política
Represent Entrevista
Policy Ética
Immigration Colaboración
Permission Identidades
Marginalized Perspectivas
Engage Marginalización
Ethics
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Stage 3 – Learning Plan
Wk Monday Tuesday Wednesday Thursday Friday
KEY: SP = Spanish students; TH= Theater students; ALL = both classes
1 Recognize Tectonic Theater Know theater vocabulary: Name culturally sensitive Apply culturally sensitive Conduct oral interviews in
Project values and processes improv/improvisation, practices for interviewing practices for interviewing Spanish
devising/devised work individuals of diverse individuals of diverse SP: Brainstorm list of
Explain how sharing and ALL: Improvisation Latin/South American Latin/South American potential interviewees
hearing personal stories in our workshop led by drama backgrounds backgrounds
Engage respectfully and utilize background
native/home languages can teacher; pictorial to build SP: Workshop with
humbly with people from other knowledge and cultures
lead to greater understanding
understanding of improv focused time for student
and empathy. social, cultural, and linguistic of students, and begin
rules and goals (W/E) backgrounds, we can learn interview practice,
contacting potential
from them and build bridges reflection, and revision
ALL: Draw and explain interviewees (W/T)
Identify culturally sensitive across differences. on how to conduct
pictorial to introduce the SP: Charo Portaro guest Begin drafting interview
practices for interviewing culturally sensitive
unit goals, plans/ individuals of diverse speaker (W): culturally questions (E/T)
interviews with Spanish
timeline, and Latin/South American sensitive interview speakers & being
backgrounds Rehearse a devised piece
establishing respectful practices with Latino/a transparent about goals from improvised material
norms for future work. SP: Homework: read
people, opportunity for (W/E) TH: Practice rehearsals
Tectonic Theatre Project article on culturally
students to ask questions on directing a group to
videos. (W/H) sensitive interview
informally (H/W/E) devise a theater piece.
practices (H/W) Rehearse a devised piece Formative assessment
Explain Tectonic Theater from improvised material plus self-assessment
Project values and processes TH: Workshop on (E/R/E2)
TH: Learning about directing a group to
Tectonic Theatre Project devise work and how to
values and processes be a leader of peers (E)
(W/E) Practice rehearsals on
directing a group to
Rehearse a devised piece from devise a theater piece.
improvised material
Formative assessment
Homework readings from
plus self-assessment
Theatre for Community,
(E/R/E2)
Conflict, and Dialogue
and discussion in class
(W/E)
2 Rehearse a devised piece Conduct oral interviews in Conduct oral interviews in Conduct oral interviews in Transcribe and translate oral
from improvised material, and Spanish Spanish; transcribe and Spanish; transcribe and Spanish text.
collaborate with peers who SP: Drafting interview translate oral Spanish text translate oral Spanish text SP: Transcribing and
operate with different SP: Conducting SP: Conducting
knowledge and skills
questions with research translating text with team
team (W/E/T) interviews with research interviews with research of peers (E/R/T)
team (E/T) team (E/T)
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Demonstrate basic Conducting mock Transcribing and Transcribing and Beginning to discuss
performance skills interviews with peers translating text with team translating text with team and synthesize
(E2/R) of peers (E/R/T) of peers (E/R/T) important issues and
ALL: Improv workshop emerging themes
led by expert theater Collaborate with peers who Rehearse a devised piece from Rehearse a devised piece (W/H/E)
mentors. operate with different knowledge improvised material. from improvised material. Explain that people
and skills Improvise scenes around Improvise scenes around experience their society
TH: Self-assess on skills societal issues and personal societal issues and personal differently depending on their
stories. stories. cultural and linguistic
leading Spanish students
in improv workshop (R/E2) TH: Practice rehearsals TH: Practice rehearsals backgrounds.
on directing a group to on directing a group to Exit task reflection on
devise a theater piece devise a theater piece essential question:
around societal issues around societal issues “What is the value of
and personal stories (E) and personal stories (E) understanding other
people’s cultural norms
when engaging in
dialogue with them?”
(R/O)
Plan and produce a devised
theater piece for a specific
audience.
TH: Preparing materials
for publicity (E/O/T)
3 Improvise scenes around Improvise scenes around Transcribe and translate oral Transcribe and translate oral Collaborate with peers who
societal issues and personal societal issues and personal Spanish text Spanish text operate with different
stories; 2) Rehearse a devised stories Improvise scenes around Improvise scenes around knowledge and skills
piece from improvised Whole-group discussion of societal issues and personal societal issues and personal Pan and produce a devised
material; and 3) Collaborate themes from interviews. stories stories theater piece for a specific
with peers who operate with Group receive their Research teams who are audience
different knowledge and skills Generate list of issues to
theater team assignments finished with translations Check-in and discussion
explore in devised pieces.
(T/O/W) begin working with on progress
Apply basic performance skills (H/E/R)
& elements of a devised Research teams identify Research teams who are theater mentor(s) (T/E)
theater piece finished with translations Other research teams All students self-assess
themes / issues they will
ALL: Devising workshop begin working with continue translation and using rubrics (E2/R)
explore (W/T)
led by theater mentors In exit ticket, theater theater mentor(s) (T/E) transcribing (T/E)
with performance for students name 3 preferred Other research teams
whole group (W/E) themes (W/H/T) continue translation and
transcribing (T/E)
4 Improvise scenes around Improvise scenes around Improvise scenes around Improvise scenes around Improvise scenes around
societal issues and personal societal issues and personal societal issues and personal societal issues and personal societal issues and personal
stories stories stories stories stories
Collaborate with peers who Collaborate with peers who Collaborate with peers who Collaborative with peers who Collaborative with peers who
operate with different operate with different knowledge operate with different operate with different operate with different
knowledge and skills and skills knowledge and skills knowledge and skills knowledge and skills
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Small group Small group improvisation Teacher check-ins with Small group Teacher check-ins with
improvisation leading to leading to devising (E/T) groups and improvisation leading to groups and
devising (E/T) individual/group self- devising (E/T) individual/group self-
assessment using rubrics assessment using
(R/E2) rubrics (R/E2)
5 Apply basic performance skills Apply basic performance skills Apply basic performance skills Apply basic performance skills Apply basic performance skills
and elements of a devised and elements of a devised and elements of a devised and elements of a devised and elements of a devised
theater piece theater piece theater piece theater piece theater piece
Rehearse a devised piece Rehearse a devised piece from Rehearse a devised piece from Rehearse a devised piece Rehearse a devised piece
from improvised material; improvised material; collaborate improvised material; collaborate from improvised material; from improvised material;
collaborate with peers who with peers who operate with with peers who operate with collaborate with peers who collaborate with peers who
operate with different different knowledge and skills; different knowledge and skills; operate with different operate with different
knowledge and skills; 3) plan 3) plan and produce a devised 3) plan and produce a devised knowledge and skills; 3) plan knowledge and skills; 3) plan
and produce a devised theater theater piece for a specific theater piece for a specific and produce a devised theater and produce a devised theater
piece for a specific audience audience audience piece for a specific audience piece for a specific audience
Rehearsals to refine Rehearsals to refine piece Dress rehearsal and Rehearsals to refine Dress rehearsal
piece for performance for performance (W/R/T) feedback session (E/R) piece for performance Last revisions (E/R)
(W/R/T) Produce/advertise Friday (W/R/T)
Produce/advertise Friday performance (E) Produce/advertise Friday Performance for
performance (E) performance (E) community Friday
evening (E)
6 Monday Tuesday Monday
Explain how: 1) People experience their society differently Explain how: 1) People experience their society differently Fiesta!!!
depending on their cultural and linguistic backgrounds; 2) By depending on their cultural and linguistic backgrounds; 2) By
engaging respectfully and humbly with people from other social, engaging respectfully and humbly with people from other social,
cultural, and linguistic backgrounds, we can learn from them and cultural, and linguistic backgrounds, we can learn from them and
build bridges across differences; 3) Sharing and hearing personal build bridges across differences; 3) Sharing and hearing personal
stories in our native/home languages can lead to greater stories in our native/home languages can lead to greater
understanding and empathy; and 4) Theater is one way we can understanding and empathy; and 4) Theater is one way we can
attempt to represent and understand other people’s stories in a attempt to represent and understand other people’s stories in a
way that empowers us and our communities way that empowers us/our communities
Students begin final reflection on process and SP: Written reflections are due. Students seminar in
essential questions (E2) Spanish debriefing cultural
understandings.(H/E2/R/T)
ALL debrief and discuss rehearsal process, TH: Self-assess on rubrics and write in-class
performance, and community response (H/R/E2) reflection on essential questions and their process as
directors and performers (E2/R/T)
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Performance Assessment
Exploring Stories of Latinx Experiences in Our

Community through Oral Spanish Performance
You are some of the newest recruits of the Tectonic Theater Project! The
group’s current investigation centers on researching and retelling the
experiences of Spanish speakers across the nation. They have come to
Olympia, Washington to explore the untold stories of Spanish-speaking and
immigrant communities within a larger, “liberal” state capital.
After workshopping foundations of improvisation and devising theater, your

job is to conduct oral interviews with members of the local Latinx and
Spanish-speaking community. Then, you will construct a theater piece
representing the experiences of and issues related to being a Spanish
speaker here in our community. Each research and performance team will
include Spanish student experts who lead the research and interview
phase of the project, followed by collaborative improvisation and devising
under the leadership of experienced theater student mentors.
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Evaluation Criteria
Rubric for Theater Mentors

Meeting
Skills/ Apply prior experiences and skills with improvisation and devising theater
Knowledge pieces. Demonstrate in performance: 1) cheat out / face audience; 2) project
and enunciate so all dialogue is clear; 3) follow basic improvisation
principles, including accepting and adding on.
Leadership Effectively mentor and support new actors in developing skills in

improvisation and devising, including: 1) cheat out / face audience; 2) project
and enunciate so all dialogue is clear; 3) follow basic improvisation
Cultural Treat issues and lived experiences of members of the community with
sensitivity sensitivity, respect, and curiosity when representing and retelling in a
& issues theatrical format.
exploration
Theater + Express what it means to use theater to explore and represent the personal
personal stories of people from different backgrounds and experiences. Reflect on the
stories rehearsal and performance process as a means of deepening their
understanding of the power of theater and sharing stories.
Rubric for Performers

Meeting
Performance Demonstrates basic performance skills necessary for improvisation,

skills devising, rehearsal, and performance: 1) cheat out / face audience; 2)
project and enunciate so all dialogue is clear; 3) follow basic improv
Use of oral Synthesizes previous Spanish language vocabulary and uses focus
Spanish vocabulary.
Collaboration Work collaboratively and equitably with peers, drawing upon differing
strengths of group members. Shows understanding of roles during group
work and reflects on participation and overall group process with group
members
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Performance Final devised theater piece meaningfully represents community members’
& Rehearsal stories. Show evidence throughout rehearsal process of engaging in
iterative devising process of engaging with stories, improvising around
stories, and reflection.
Cultural Treat issues and lived experiences of members of the community with
sensitivity & sensitivity, respect, and curiosity when representing and retelling in a
issues theatrical format.
exploration
Rubric for Spanish Experts (Interview)

Meeting
Cultural Demonstrates transformative qualitative interviewing practices to

sensitivity respectfully engage with people from different social, cultural, and linguistic
backgrounds.
Spanish Students work in research teams to prepare questions in the formal

interview conditional tense, conduct oral interviews, and take notes of interviewee’s
responses.
Transcription Students work in teams to draw on prior knowledge in order to transcribe,

& translate, and interpret an authentic oral text.
transcribing
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Pictorial Input
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HOME/SCHOOL CONNECTION #1
CONEXIÓN ENTRE CASA Y ESCUELA #1
Ask someone from your family or community (in English or any other language you
share): what do they think is the value of hearing and sharing personal stories?
Interview notes (in any language):
share) to retell a story from their parents/grandparents from their personal cultural
history.
Write or sketch the story they share:
Student signature/Firma de estudiante: ____________________________
Parent/Guardian Signature/Firma de padre/guardián: ___________________
Comments or questions:
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(Traducción en Español)
Pregunta a alguien en tu familia o comunidad (En cualquier lengua): ¿Qué piensa del
valor de oír y compartir historias personales?
Apuntes de entrevista (cualquier lengua):
Pide a alguien en tu familia o comunidad (En cualquier lengua) que te cuente una
historia de sus padres/abuelos de su cultura personal.
Dibuja o escribe el cuento que te compartió:
Firma de estudiante:____________________________
Firma de padre/guardián: ___________________
Comentario/Preguntas:
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Practice interviewing someone close to you:

Use what we’ve learned about interview practices to ask a parent/guardian/family
member about a story from their past. When was a time they felt treated unfairly or
discriminated against?
What does this make you think about? Sketch or draw something that reflects your
thinking:
Student signature/Firma de estudiante:____________________________

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(Traducción en Español)
Práctica con alguien cerca contigo:

Usa lo que hemos aprendido sobre prácticas de entrevistas para preguntar a sus
padres/guardian/miembro de la familia sobre una historia de su pasado. ¿Ha sentido
maltratado por alguien?
Apuntes de entrevista (cualquier lengua):
¿En qué te hace pensar esta historia? Bosqueja o dibuja algo que refleja tus
pensamientos:

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Ask your family if they have ever spoken with someone in their primarily language. How
did they feel talking in another language? What did they learn from that experience? If
they have not experienced such a situation, brainstorm with them and imagine what it
might feel and what they could learn from that experience:
Student signature/Firma de estudiante:____________________________
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share) how they think theater can empower us and our communities.
Ask them to recall a powerful play or movie they saw that stuck with them, and why was
it so powerful for them?
Write (in any language!) or sketch the story they share:
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Groupworthy Task: Task Card
Let’s act!
You are some of the newest recruits of the Tectonic Theatre Project! The group’s
current investigation centers on researching and retelling the experiences of Spanish
speakers across the nation. They have come to Olympia, Washington to explore the
untold stories of Spanish-speaking and immigrant communities within a larger, “liberal”,
state capital.
You’re in the final phase of the project, which is rehearsing with your team for the final
production! After workshopping foundations of improvisation and devising theater,
conducting oral interviews with members of the local Latinx and Spanish-speaking
community, and discussing themes and deciding on a story on which to focus in your
group, you’re now ready to begin rehearsing and preparing!
Your task
Use the decided upon theme and story to inform your production.
Plan out your story, assign roles, and engage in feedback process to help
each other develop their improv and Spanish skills!
● Plan out your your story and set the stage

○ What group norms will you be attending to today?
○ What are the main scenes you will need to portray?
● Assign roles
○ What roles will each member play?
○ How can each member engage in the process?
● Rehearse
○ Focus on engaging in the overall theme; How does the story relate to the
theme? What could make it be more clear?
● Engage in feedback process
○ What did your team do well? Did the story relate to the overall theme?
○ What needs work? How can you improve next time?
○ Are there opportunities for expanded use of Spanish?
○ Did you attend to the group norms? What needs improvement?
● Go again! (Change roles…? Not sure about this...)
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A successful product will include
● Students working together, including all voices, to create a story based on your
theme
● Equitable participation by all members not only based on amount of time spoken:
Did everyone contribute to devising the story? Did everyone focus on other
member’s performances to engage in feedback process?
○ Each student will reflect on their participation at the end of the day during
feedback and reflection time
● Well-polished and rehearsed story:
○ Use feedback to improve your presentation
○ Continue to rehearse in order to make it more natural
○ Help others by building off each other’s answers using “yes”
● Elements of Devised Theater and Improvisation:
○ Say yes!
○ Build on other people’s choices in order to advance the action
○ Cheat out (Faces, not butts, to the audience)
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Groupworthy Task:
Multiple Ability Treatment
Ways each student can contribute to the group are to:
Task related
● Pay attention to details and follow instructions
● Keep team on track and focused by having a solid understanding of the task
● Engage in the culturally sensitive practices we practiced week 1 of this unit and keep
group grounded in empathy and understanding
Group participation related

● Make sure all voices are heard and brings out quieter voices to the conversation
● Stay positive — notice strengths and competencies!
● Ask questions and check for clarification when there is a misunderstanding
● Build off others’ ideas; help them extend their thinking by asking questions to deepen
their understanding (In reflection/feedback as well as during devised performance)
● Engage in active listening and meaningful engagement; be there for your group
members
Learning related
● Grammar expert; help with correct language forms in a constructive way
● Give reasons behind your choices by using because statements
● Keep the big picture in mind; how does this relate to the learning objectives of the unit?
● Synthesize each other’s’ ideas
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Groupworthy Task: Role cards
Facilitator Team Leader
● Gets team off to a quick start ● Checks for equitable
participation: Is everyone’s
● Checks to make sure everyone voice being heard?
is on the same page ○ “Let’s hear from some quieter
○ “Is everyone ready to move voices”
on to the next step?” ○ “What do you think, ____?”
○ “Does ____ make sense to ○ “Before we move on, would
everyone?” anyone like to add anything?”
Captain positive Resource Manager

● Offers constructive and ● Makes sure each member has
supportive feedback access to materials and story
○ “I really appreciated outline
_______, great job!” ○ “Does everyone have what
○ “That’s a good point, _____.” they need to get started?”
● Notices strengths and abilities of ● Acquires props if necessary

all group members
○ “I noticed _______ showed ● Ask team questions to the
improvement and did really teacher(s)
well at _______ this time.”
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Groupworthy Task: Norms
Share the mic and listen to others. Give everyone a chance to talk and ask others for their
ideas. Make sure everyone contributes.
What it might look/sound like...

● “Let’s hear from some quieter voices”
● “What do you think, ____?”
● “Before we move on, would anyone like to add anything?”
● “Have we heard everyone’s ideas on this?”
Stay positive! This isn’t just Captain Positive’s role, everyone should be making an effort to
offer constructive and supportive feedback as well as notice strengths and abilities of all group
members.
What it might look/sound like...

● “I really appreciated _______, great job!”
● “You really helped our group today by _______ ”
● “The strengths you brought today were _______ ”
● “That’s a good point, _______.”
● “I noticed _______ showed improvement and did really well at _______ this time.”
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Instructional Strategy Toolkits
ADHD (Combination of Hyperactive-Impulsive and Inattentive)
Strategy 1: Breaking a long assignment into smaller chunks
Rationale: Students with ADHD struggle with long-term focus, and this is a generally
great way to assist them in completing longer projects. The research portion of this unit
requires lots of small steps to achieve a larger goal, and can benefit from focused
chunking.
Step by Step:
- Work with students with ADHD to break down the larger goals into a daily to-do
- Break down daily goals into manageable steps
Materials: Paper to write steps
Questions & Ideas: This could be done ahead of time by the teacher, but I think this
would be a great learning opportunity for the student with ADHD to learn how to plan for
their own independent use.
Strategy 2: Giving clear instructions, in writing as well as verbally, and check-in with
student that they understand what they need to do
Rationale: Students with ADHD struggle to hear instructions and immediately put what
they heard into action. By having clear instructions, write instructions, and also check in,
we can help a student with ADHD to move more successfully from listening to doing.
This is especially relevant in our unit as we turn students to self-guided research and
devising group work.
Step by Step:
- Give instructions in simple sentences with clear, understandable vocabulary, or
clarifying vocabulary used with images and gestures
- Put step-by-step instructions on board or poster paper
- Check in with student with ADHD, asking them to put the instructions into their
own words and identify a first step
Materials: Instructions on board or poster paper with visuals
Questions & Ideas: Consider having all students put the instructions into their own
words, as this is a helpful modification for all students, not just students with ADHD.
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Strategy 3: Providing Breaks
Rationale: Mental or physical, some students may need short breaks to refocus and
not lose attention on task. We ask students to do a lot of self-guided work over multiple
days, and so will need to support students to take regular breaks in order that they can
focus better during work time.
Step by Step: Physical: Short breaks where students stand up, walk around, do TPR
actions, etc. Be mindful and remind student to do this as needed and not just when
class does it. Mental: Short brain breaks where students can focus on other shorter
tasks (videos, games, etc) to break up longer tasks.
Materials: TPR games, routines, songs/videos/games for mental breaks
Questions & Ideas: Ideas for this in Spanish classroom? Good for all students? How
often is too often? How to establish routines but not make it monotonous.
Strategy 4: Outlines and graphic organizers
Rationale: Outlines and graphic organizers can help with organizing thoughts and
keep student thinking on task and moving forward. Focusing on most important content
can keep student focused, particularly when we introduce cultural norms and respectful
engagement with people of other cultures, as well as focusing on themes of the
interviews.
Step by Step: Introduce outline for task and content. Provide graphic organizer (hard
copy or sample on board) to help organize thoughts and notes. Check in with student
filling out and ask question that can help drive thinking. Have students reflect on use
and share ideas from process.
Materials: Hard copy of graphic organizer or sample on board; outline for task on
board or hard copy if needed.
2-3 online resources:

1. http://www.pbs.org/wgbh/misunderstoodminds/attentionstrats.html
2. http://www.chadd.org/Portals/0/Content/CHADD/NRC/Factsheets/ClassroomAcc
ommodations.pdf
3. http://www.chadd.org/Portals/0/AM/Images/Understading/AUG05ClassroomInter
ventions.pdf
29
Asperger’s Syndrome/ High Functioning Autism:
Strategy 1: Peer buddy / intentional grouping
Rationale: The very collaborative nature of this project would be socially challenging for
a student with AS/HFA. By pairing them with a friend or someone who naturally tries to
include others (and encouraging the friend/”includer” to help this student offer ideas and
feel validated), the student’s social anxiety could be limited. In order to support the
peer, we will check in with peer and purposefully group the student with AS with
someone with whom they work effectively.
Step by Step:
- Have noticed peer relationships and personalities
- Choose student who is likely to support student with AS/HFA
- Talk to “helper”/buddy
Materials: NONE
Questions & Ideas: This necessitates knowing your students! Teachers need to be
highly attuned to social relationships between peers.
Strategy 2: Explicit instruction of peer interactions
Rationale: Students may be less willing to work in groups if they do not understand the
steps or reasoning behind collaborative work; also, students may not know the “hidden
rules” behind group interactions and could dominate talk time. We want to support
students to maximize their time preparing for and debriefing interviews, as well as
during group improvisation/devising rehearsals.
Step by Step: Explicitly teach skills to participate in think-pair-share/group discussion

by writing protocol for each and discussing roles and norms. Clarify specific
responsibilities for each student and check for understanding with whole class and
specific student (in person)
Materials: Protocol for think-pair-share on board; protocol for group discussion and
task card for groupworthy tasks.
Questions & Ideas: Personal check in with student before starting? Engage in
reflection of how the process went for all students and see what worked and what didn’t
with the student with AS/HFA?
30
Strategy 3: Front load instruction in unit-level change of routines, daily changes, and
specific structure for improvisation
Rationale: Students with AS/HFA especially benefit from clear routines and
procedures, and get frustrated when the schedule changes last-minute. Before the unit
begins, collaborate with the student in order to make sense of the interdisciplinary
nature of the unit (other students entering class, going to other class) as well as which
days will have unusual schedules (guest speaker, workshop led by students, rehearsal
days).
Step by Step:
- Front load instruction with this student prior to the beginning of the unit on the
overall changes that will be coming up.
- Front load instruction for the student at the beginning of the week on days when
we will be in a different classroom, engaging in very different work than the norm.
- Front load instruct the routines we use for improvisation days, which utilize
specific progressions of types of activities.
Materials: NONE
Questions & Ideas: This should be intentionally paired with Strategy 4 (visual schedule
and to-do).
Strategy 4: Step-by-step for tasks and projects
Rationale: Students may require more focus and structure with tasks that can help
keep them on task and engaged in process. Our team interviews and collaborative
improvisation/devising rehearsals especially require a significant change in structure,
and are relatively open-ended and need student focus to be productive. Listing the
protocol and procedures for these tasks explicitly can set expectations and help notice
any confusion or areas that could be problematic later.
Step by Step: List steps on board for lesson. Make explicit protocol and steps for
student that they can follow with a hard copy for more difficult and abstract
projects/tasks. Support student in following tasks and protocol and check in with group
about progress and clarify the need to follow the protocol to support group progress
Materials: Lesson plan steps on board and Hard Copy of steps for student with
explanation.
31
Questions & Ideas: Include for all groups? Would it be better to keep some tasks
more abstract for most groups but a little more defined for a group that has a student
with AS/HFA?
2-3 Online resources:

1. https://researchautism.org/wp-
content/uploads/2016/11/An_Educators_Guide_to_Asperger_Syndrome.pdf
2. http://www.myaspergerschild.com/2010/09/school-concerns-for-students-
with.html
3. https://www.mydigitalchalkboard.org/cognoti/content/file/resources/documents/1d
/1d217998/1d21799889cc4dc54e902c565e1490133b452f32/Diann.Grimm.ASDP
resentationElementary.10pgs.pdf
ELL- Long term English Language Learner (LTELL):
Strategy 1: Explicit focus on language demands, especially function and syntax
Rationale: LTELLs may be conversationally fluent, but they have limited academic
language structures. They need support in understanding and using key grammar forms
and structures, and understanding how these connect with the language function in a
key academic setting. This will especially help students to develop strong language for
interviews.
Step by Step:
- Explain to students with visuals and gestures the language function of a learning
task
- Support by explicitly teaching verb forms and sentence structures (including
stems to start) to help them use more academic forms in their discourse and
writing
- Keep visuals, verb forms, and sentence starters on a poster in a visible place in
the classroom or make smaller copies for LTELLs to keep with them as they work
Materials: Posters with visuals and verbs/sentence starters, or mini-posters
Questions & Ideas: This will help Spanish experts in preparing for their interviews as
well as in preparing theater mentors to coach their peers in improv/devising workshops.
Strategy 2: Frequent and detailed feedback with focus on benchmark standards
Rationale: Teachers sometimes hold LTELLs to lower standards. LTELLs need to be

held to high standards and clearly see what those standards are, and helped to know
32
next steps to getting closer to attaining those standards. Check in with students during
group work for Spanish interviews and devising rehearsals, and discussion about
emerging themes from interviews, in order to offer feedback based on students learning.
Step by Step:
- Work with LTELLs to understand the performance tasks and the associated
language demands.
- Coach them in what they specifically need to achieve the goals of the unit.
- Make a plan for how to achieve the unit goals.
- Regularly check in and provide further feedback, record in a document so that
the student can revisit to make sense of feedback and next steps.
Materials: Graphic organizer with visuals to outline goals, where they’re at in relation to
goals, next steps to get there, and places to record ongoing feedback.
Questions & Ideas: This should be established early in the year as a routine to help
the student throughout the year across different units and goals. Support the student in
organizing feedback and next steps in a binder or other system that works for the
student.
Strategy 3: Graphic Organizers
Rationale: Graphic organizers can help students to access complex oral as well as
written texts. When Charo comes as a guest speaker, and as students engage in
discussion about emerging themes from interviews, graphic organizers can keep
students stay focused and connecting key ideas that emerge during discussions.
Step by Step: Hard copy of graphic organizer (may include key words/word bank for
ELL students). Walk through process of using in order to access complex texts. Check
in with students in use and effectiveness of strategy. Have students share information
from graphic organizer to help connect ideas.
Materials: Hard copy of graphic organizer
Strategy 4: Affirm language, family, and culture
Rationale: Students’ whose language, family, and culture are absent in the classroom
and content can become disengaged and may not be able to access cultural capital to
help with completing work. Making connections is crucial for students to learn more
effectively and feel valued in the classroom. When discussing cultural norms and how
33
to interact with people from different backgrounds, ask beforehand if these students
would like to share any of their experiences or stories from their family.
Step by Step: Find out information about student (Skyward/Ed software, other
specialist/ELL teacher/counselor, students, etc. Check in with student and ask about
them (in a respectful way) to make a deeper connection. Create units and lessons that
draw out culture, language, and family to help student tap into various forms of capital
and feel valued in the classroom.
Materials: Home survey to make connection and find out more information; lessons
and units that bring out and value culture, language, and family.

1. https://www.nea.org/assets/docs/15420_LongTermEngLangLearner_final_web_3
-24-14.pdf
2. http://www.colorincolorado.org/ell-strategies-best-practices
3. http://www.k12.wa.us/MigrantBilingual/ELD.aspx
4. http://www.colorincolorado.org/ell-basics/special-populations/long-term-ells
ELL- Student with Limited or Interrupted Formal Education (SLIFE):
Strategy 1: Visual supports to understand instructions, language demands, etc.
Rationale: Visuals offer a critical support to help Academic English language learners
access the material. Although translating into a SLIFE’s home language can provide
initial support, visuals help transition the SLIFE into using the new language without
translating. Books with graphics at the beginning of the unit will be used when
introducing stories, as well as props during the rehearsals and devised production.
Step by Step:
- In preparing for each lesson, consider where visuals can help clarify the
instructions, language function (WHY they’re using language), vocabulary, etc.
- Plan for clear, simple visuals incorporated as often as possible. Anything printed
should be supported with visuals. Oral directions should ideally be written with
visuals as well.
Materials: Poster paper, markers, visuals
Questions & Ideas: Visuals help all learners, but especially Academic English
language learners and neurodiverse learners.
34
Strategy 2: Picture dictionary
Rationale: Specific vocabulary and phrases used in improvisational theater setting has
nuanced meaning that may be challenging for an ELL student. By providing visuals in a
place where all students can see, a picture dictionary supports students in developing
ownership of the vocabulary and phrases so that they can apply them in working with
groups to devise.
Step by Step:
- Identify vocabulary and phrases with nuanced or particular meaning in
improvisational theater context
- Determine clear visuals or metaphors to help clarify the meaning
- Sketch out visuals with vocabulary/phrases and simple definitions on poster
paper
- Explicitly teach the meaning of vocabulary while drawing in details of words and
images on poster
- Support students in using these terms, processing in their own language, or
referencing the poster regularly throughout their work.
Materials: poster paper, markers, visuals sketched in lightly
Questions & Ideas: It is critical to plan ahead for how and when you will instruct on
vocabulary using the picture dictionary. Plan for early instruction in vocabulary and
regular follow-up, returning to the poster created throughout the unit and prompting
students to meaningfully use vocabulary and phrases.
Strategy 3: Explicit instruction of learning strategies for future use
Rationale: Students may not have been exposed to certain learning strategies like
seeking contextual information that can help in understanding, use of tools such as a
dictionary or vocab list, recognizing patterns or cognates, effective note-taking, or
utilizing the reflection process to enhance learning. In the context of our unit, we would
explicitly review note-taking strategies during guest speaker and group discussions as
well as offering participation strategies during group work and rehearsal through using
task cards and introducing group norms. Assisting them with skills and strategies may
positively affect their learning capabilities across disciplines and later in life.
Step by Step: Pick a strategy to work on that can help support student development in
that lesson (e.g. pre-reading strategies).
● Hang out reading (tell them not to read yet)
35
● Tell students to look at the title of the reading. What do they think they will be
reading about? What questions do you have about the text?
● Look at headings. What type of information do you think will be in each section?
● Look at accompanying visuals and descriptions. How can these help us with our
understanding of the text?
● Have students describe process to peers and check for understanding before
reading.
Check in with student after lesson to see how the pre-reading strategy worked. How did
it help them understand the content? Finally, remind students later in how this helped
them with reading and can help them across disciplines.
Materials: For pre-reading strategies: Text
Strategy 4: Read pictures books to students to help sense making
Rationale: Use of visuals and books with pictures at the beginning of our unit when
introducing stories can help students make sense of the content and create deeper
connections. Pictures also help with sense-making with all students and can offer
access points for students, as well as ability to discuss without re-stating facts/ideas in a
text; students must create their own language based on pictures.
Step by Step: Hand out picture book or copies of book to groups. Note some
questions that students should think about when reading and be ready to discuss
afterward. Students read/view the pictures. Afterward, students can discuss the
readings and use questions as a way to open discussion.
Materials: Picture book or copies of picture book. Questions for students to attend to
during and after reading.

1. http://www.colorincolorado.org/article/how-support-ell-students-interrupted-
formal-education-sifes
2. https://www.wida.us/get.aspx?id=848
36
Lesson Plan 1 – Unit Design MiT 2018
Lesson Plan Author: Ryan Campeau

Content Focus: Theater Arts
Unit Title: Exploring Stories of Latinx Experiences in Our Community through Oral Spanish
Performance
Grade level: 10-12
Place in unit: Week 1 Day 2
Relevant Standards:
Content Standards Connected Language/Literacy Standards
Reading, Writing, Listening, Speaking
Creation 3.1.111a: Refine, transform, and re- Collaboration & Communication

imagine a devised drama/theatre work, using CCSS.ELA...11-12.1: Participate effectively in
the rehearsal process to invent or re-imagine a range of collaborative discussions with
style, genre, form, or conventions. diverse partners...building on others’ ideas
and expressing their own clearly.
Learning Goals/Targets/Objectives:
Today’s Learning Target(s) Language Demands
1. Name the basic rules and Language function: explain

goals of improvisation.
2. Engage in improvisation with Vocabulary & Key Concepts: improvisation/improv,
peers accepting, adding on, high stakes, relationships
3. Feel safe in contributing
ideas and taking risks Syntax: Complex or simple, explanatory sentences, e.g.
“The first rule of improvisation is… This means to…”
Essential/Guiding Question(s): How can theater empower us and our communities?
Assessments/Evidence of Learning/Success Criteria:
37
Formative Student Voice
(what will it look like/sound like for students to (reflection, metacognition, self-assessment,
meet learning objective) connections to unit goals and upcoming
performance task)
Students process the rules and goals of Whole class reflection on what they notice,
improvisation with a partner (walk around, wonder, and might want to try next time.
record). Students explain their understanding
of improv rules in their own words on the exit Reflection at end of day via exit ticket: how
ticket. Students engage in improvisation with safe did you feel taking risks, and what would
the whole class – teachers simply notice and help you feel safer next time…
record on clipboard how they do.
Classroom engagement and grouping considerations

Participation Structures Norms, Roles, and Feedback and
(think-pair-share, group-work Expectations Debrief
structures, stations, A-B partners)
Partner share (partners Both students contribute in Whole class debrief

predetermined by teachers to mix partners what they notice,
up theater and Spanish students) All students participate in wonder, and would like
A-B protocol warm-up/trust-building games. to try next time
PROCEDURES
Teacher Moves Student Learning Scaffolding & Supports
PACIN managing transitions & What kind of thinking Accommodations, supports
G procedures are you asking them to for language demand,
establishing purpose & do? grouping, protocols for
expectations, questioning How are they making dialogue, graphic organizer,
methods meaning? modeling/think aloud…
(receptive, productive, How will you stage the
interactive) supports?
**Prior to the lesson, front load instruct student with AS/HFA on the unique routine for today,
what will be expected of them, and who they will work with (peer buddy).
38
Launch Gather students in circle. Every student has a turn Establish rules/norms for
(10) Revisit unit pictorial and to say name with safe risks – pre-plan and
discuss goals for today: gesture and have group lightly sketch visuals to make
establish main rules/goals repeat. meaning clear for all
for improv, get first (Kinesthetic and students, especially LTELLs,
experiences as a group, receptive) SLIFEs, and student with
and establish ground rules AS/HFA
for future work. Receptive/ listening if
(Revisit first rules if already established, or Low stakes, as gesture can
established Day 1.) mix of 3 modes if group be as minimal or big as
is establishing student chooses.
Model introductions with rules/norms
name and gesture – Model (and peer models in
everyone repeats name theater mentors)
and gesture.
Improv Teach the basic rules of Students listen Written on poster paper with
rules & improvisation and goals (receptive processing), visuals to reference
goals for establishing/exploring: process the meaning of Have pre-established
(10) list on poster paper (see each rule with “buddies” for partner talks
below) explanations, examples who can support each other
Ask theater mentor to pair and non-examples and be productive (based on
up with Spanish student to (interactive with peer) Spanish and theater
introduce themselves, and teachers’ knowledge of
process rules/ give students – pay special
examples –support with A- attention to pairing for
B protocol so both peers students with AS/HFA,
share and sentence stems ADHD, and LTELLs and
on poster paper with SLIFEs)
visuals. A-B protocol
Support with sentence stems
and visuals: “I’m
understanding… For
example… I’m wondering…”
39
Improv Explain that we always Interactive meaning- Theater mentor models
practice start with games to focus making. Theater and Spanish teacher
(30) and then build trust. Engage students in circle, ask questions and
Engage students in: Cover warm-up/focus/trust- encourage.
the Space, Blind building games
Handshakes, Blind (No Theater mentors start to Sentence stems for whole
Contact), & Storytelling.* offer another model. group debrief: “I notice… I
To introduce each game, Following each improv, wonder… Next time…”
give teacher or theater students debrief with Talk with partners first (A-B
mentor model. After game, sentence stems in protocol) then whole class.
debrief what worked and partners then in the
didn’t work with sentence whole group.
stems.
Explain that next time we Students demonstrate Teacher explains and models
Closure will really get into improv. understanding and exit ticket for all students.
(5) For now, I want them to reflect through exit
explain their ticket. Sentence stems to support
understanding of these Metacognitive about all students in explaining the
main rules/goals of emotions, how it felt to main rules/goals of improv.
improv. I also want them engage, what could
to reflect on how they felt make next time better. Some students can have an
in this space, working with (Written, productive in-person check-in, if that
these people – Read meaning-making) feels more comfortable to
aloud exit ticket, them.
explain/model, and have
students complete: 1. In Teacher checks in with any
your own words, what are students who seem unclear
the rules and goals of (especially students with
improvisation? AS/HFA and ADHD and
2. On a scale of 1 to 10, LTELLs/SLIFEs)
how safe did you feel Consider offering
participating in improv SLIFE/LTELL students option
workshop? Explain why. to explain improv rules/goals
3. What could have in home language.
helped you feel safer and
more able to take risks?
*See resource for teachers: Theatre for Community, Conflict, and Dialogue by Michael Rohd,
pages 12-13, 18-19, 34-35, 44-45.
Materials and Classroom set up:

- Poster paper, markers, planned rules of improvisation with clarifying visuals and text
40
o “Accepting – ‘YES, and…’”
o “Adding on – ‘and THEN,’ ‘and NEXT’”
o Improvisation explores:
§ Where you are
§ Relationship with who you’re with
§ What you’re doing
§ What you want to get
§ High stakes – you REALLY want it!
§ Strong, detailed choices
- “I notice… I wonder… Next time…” written on poster paper with clarifying visuals
- Exit tickets typed and printed on slips of paper
- classroom set up so desks are moved out of the way, open space for acting
Teacher Reflection:
41
What kinds of adaptation
might be useful? Why?
(a) Use text to inform lesson

Identify possible adaptation
BARRIERS in (b) Make sense of the reason
the lesson for why that adaptation could be
Identify possible student with useful.
Analysis for (c) Examine learning objective
Lesson Plan 1 ACCESS points the limited or
lesson for student with interrupted for the adapted part of the
Parts of the lesson limited or interrupted formal lesson. Have you changed
to consider: formal education education what students are (i) learning, or
(ii) doing to show their learning?
Content/Input The rules and goals of Teacher For this first explanation of
improvisation are also explanation of improv rules and goals, write
i.e. what students learned through improv rules these with clarifying visuals on
need to access repeated engagement and goals could poster paper so that SLIFEs can
information of the in improv workshops, be challenging revisit to process and make
lesson. and need to be for SLIFEs to sense of specific terms and how
mastered over time. understand. to explain this in English.
Process/ Sense Teacher Teacher directions should also

making directions are be written on a poster with
given orally, clarifying visuals. Additionally,
i.e. how students which could theater mentors can model for
expected to interact pose a their peers how to engage in the
with and think about challenge for specific improvisation activities,
the content/ SLIFEs to giving a nonverbal access point
materials. understand all for all peers.
of the meaning.
Product/Assessme Physical nature of the Written exit Check in with SLIFEs about
nt improv workshop ticket to explain their understanding of the
should allow SLIFEs to improv rules question and clarify.
i.e. how students understand and and goals could
need to apply & participate by watching be challenging Offer to SLIFEs to explain
show what they numerous peer models. with limited improvisation rules and goals in
understand vocab and their home language (which
grammar forms. student and teacher or peers
can work together to translate
later).
42
Social Interactions Partner and group Oral debriefing Partner SLIFEs with peers who
interactions offer could be a are the best fits to support each
i.e. how students numerous opportunities challenge for other, based on knowledge of
need to interact with for peers to scaffold SLIFEs, both to students
each other around content and understand their
the learning task. understanding for partner’s ideas Sentence stems to support
SLIFEs. and express students in oral sharing.
themselves. Consider possibility of visuals to
SLIFEs might capture essence of sentence
not talk with stem meanings.
their partner. A-B protocol
43
Lesson Plan 2 – Unit Design MiT 2018
Lesson Plan Author: Ryan Campeau

Content Focus: Theater Arts
Performance
Grade level: 10-12
Place in unit: Week 3 Day 2
Relevant Standards:
Content Standards Connected Language/Literacy Standards
Theater Connection 10.1.111a: Collaboration & Communication

Collaborate on a drama/theatre work CCSS.ELA...11-12.1: Participate effectively in a
that examines a critical issue using range of collaborative discussions with diverse
multiple personal, community, and partners...building on others’ ideas and expressing
cultural perspectives. their own clearly.
Spanish 3.2 - Acquiring information Reading/Analysis

and diverse perspectives: Learners CCSS.ELA-LITERACY.RI.11-12.7
access and evaluate information and Integrate and evaluate multiple sources of information
diverse perspectives that are presented in different media or formats as well as in
available through the language and words in order to address a question.
its culture.
Today’s Learning Target(s) Language Demands
1. Synthesize experiences and Language function: summarize

perspectives from multiple
stories to determine themes Vocabulary & Key Concepts: theme, synthesize, condense
2. Prioritize themes for Syntax: Concise, simple sentences that restate meaning of
exploration in theater piece multiple themes
Essential/Guiding Question(s)
- How can theater empower us and our communities?
- What are the stories of multilingual and immigrant peoples in our community?
44
(what will it look like/sound like for (reflection, metacognition, self-
students to meet learning objective) assessment, connections to unit goals
and upcoming performance task)
Students explaining to partner what they Partners explain understanding

understand of Theme Wall process; Whole-class (or turn-and-talk) reflect on what
Student work in research teams to generate they’re noticing about themes…
themes (circling, noting, supporting) Reflect and prioritize top 3 themes

Participation Structures Norms, Roles, and Feedback and Debrief
(think-pair-share, group- Expectations
work structures, stations,
A-B partners)
A-B protocol with partner Both partners talk. Teachers walk around, ask
Theme Wall: generating Everyone contributes ideas, questions, and give feedback
themes through group work asks questions, or otherwise or encouragement.
supports.
PROCEDURES
Teacher Moves Student Learning Scaffolding & Supports
PACING managing transitions & What kind of thinking Accommodations, supports for
procedures are you asking them language demand, grouping,
establishing purpose & to do? protocols for dialogue, graphic
expectations, questioning How are they making organizer, modeling/think
methods meaning? aloud…
(receptive, productive, How will you stage the
interactive) supports?
**Prior to the lesson, front load instruct student with AS/HFA on the unique routine for today, what will
be expected of them, and who they will work with (peer buddy).
45
Launch Revisit unit pictorial and Students explain what A-B protocol (explain protocol,
(10) show students where we they’re understanding have displayed with visuals)
are in the process and what works about
(brainstorm, reflect). the process with a Check in with any students who
Show example images of partner. seem unclear (especially
Theme Wall method for students with AS/HFA and ADHD
brainstorming (see sample and LTELLs/SLIFEs)
images below).
Ask students to explain to a
neighbor what works about
this process (A-B protocol).
Process Explain learning target – (Receptive making Imagery and visuals for
interview “synthesize” explained as sense of day’s tasks.) “synthesize”
notes / taking different color strands Student ask questions
synthesi to weave together into more and clarify Low stakes, generating themes
s for beautiful tapestry (use process/goals through independent or group
themes visual and gesture). Students work with work (depending on individual
(25) Make clear expectations for research teams (theater preference and learning profile)
generating themes from mentors join their and writing on sticky notes.
research with teams, writing ongoing buddies) to go
on sticky notes to place on through their interview Teacher modeling.
board = Theme Wall. notes and pick out Provide students with clear 4-
MODEL. themes – they write step instructions in writing with
Ask for student questions. themes on sticky notes visuals: 1) re-read interview
As students work in their which go up on the notes; 2) think: what are the
research teams, circle, ask board (interactive, important ideas? 3) write main
questions, and give support reading but making ideas on sticky note; 4) put sticky
as needed. sense of and note on board.
synthesizing, like Teacher check in with any
dialogue with text.) students who seem unclear
(especially students with AS/HFA
and ADHD and LTELLs/SLIFEs)
46
Whole Silent moment for everyone Read notes on board, Turn-and-talk if it seems helpful,
class to look at sticky notes and process (receptive) to support students in generating
reflect process Respond with ideas, ideas.
(10) “What do we notice?” what we notice
Teachers explain, model, (interactive) Encourage students to
then lead whole group Synthesize to articulate continually move and chat, if it
through process of multiple themes in one supports them in seeing the
identifying connections phrase themes and making sense of
between themes, grouping / themes through brainstorm.
condensing into one theme
we write on a sentence strip Teacher modeling of connecting
“Are there any themes that two themes and writing one
you feel are important from theme on sentence strip that
your interview notes that captures overall meaning.
aren’t up here?”
Closure Teacher model ranking top Receptive, listen/watch Teacher models prioritizing with
(5) 3 themes that I would like to and make sense of think-aloud. Write clear and large
explore, how to prioritize teacher text on board with sentence
with think-aloud. modeling/expectations. stems and visuals to express
Explain that teachers will Students write name preference
look at this and try to find and top 3 choices for
groups that make sense and themes they would like
we know can work together. to explore in their
Reaffirm that nothing is set devised piece
in stone and groups can be (productive, written)
flexible as we first start out
Performance groups aren’t
same as research teams.
Next time: start
improv/devising!
47
Theme Wall visuals to hook/support understanding:

48
- notecards for student ranking of themes they would most like to explore
- sticky notes and sentence strips galore
- student interview notes
- desks set up in groups so students can look in together at same notes
Teacher Reflection:
49
What kinds of adaptation might be
useful? Why?
Identify possible (a) Use text to inform lesson
ACCESS points Identify possible adaptation
Analysis for the lesson for BARRIERS in the (b) Make sense of the reason why that
student with lesson for adaptation could be useful.
Lesson 2 (c) Examine learning objective for the
ADHD student with
adapted part of the lesson. Have you
Parts of the (Combined ADHD (Combined changed what students are (i) learning,
lesson to hyperactive/ hyperactive/ or (ii) doing to show their learning?
consider: inattentive) inattentive)
Content/Input Spanish students Oral directions: Check in with students as they

are building on students with begin the task to support
i.e. what their prior ADHD might meaning-making.
students need to experiences and struggle to focus
access knowledge in this and make sense Support understanding of goal to
information of lesson. of spoken “synthesize” with visual and
the lesson. directions. gesture.
Model how to synthesize for

themes and add sticky note to
Theme Wall.
Think-aloud to support students in

understanding how to prioritize
themes.
Process/ Sense Collaborative work Collaborative work Choose partners and groups
making in pairs and could become based on knowledge of students
groups supports distracting for to pair peers who are most likely
i.e. how students students with students with to work successfully together.
expected to ADHD in having ADHD.
interact with and peers to hold them Support students with ADHD by
think about the accountable. It might be providing them with written, 3-step
content/ materials. challenging for instructions with visuals to guide
students with them in managing a larger, less
ADHD to focus on structured task.
the larger task of
synthesizing
themes from
research notes.
50
Product/Assess The Theme Wall is Reflecting on and Encourage students to continue
ment very visual and condensing to move and chat if it helps them
incorporates themes from the to focus on noticing connections
i.e. how movement and Theme Wall might between and condensing themes
students need to talking to create, be a focus present in the Theme Wall.
apply & show which plays to the challenge for
what they preferences of students with
understand students with ADHD.
ADHD.
Social The largely Students with The A-B Protocol reminds

Interactions collaborative differing types of students that each partner needs
nature of this ADHD could be to talk and listen, which can
i.e. how lesson supported to support students with ADHD by
students need to encourages engage in both offering a structure to support
interact with speaking and speaking and their focus in both speaking and
each other movement, which listening in partner listening.
around the supports preferred talk.
learning task. modes of learning
for students with
ADHD.
51
Lesson Plan Author: Sean Wood
Content Focus: Spanish
Unit Title: Exploring Stories of Latino Experiences in Our Community through Oral Spanish
Performance
Grade level: 10-12
Date: Week 4 Wednesday
Relevant Standards:
Content Standards Connected Language/Literacy
Standards
World Language: Collaboration & Communication

3.1 Making Connections: CCSS.ELA...11-12.1: Participate
Learners build, reinforce, and expand their knowledge of effectively in a range of collaborative
other disciplines while using the language to develop discussions with diverse
critical thinking and to solve problems creatively. partners...building on others’ ideas and
expressing their own clearly.
1.3 - Presentational communication: Learners present
information, concepts, and ideas to inform, explain,
persuade, and narrate on a variety of topics using
appropriate media and adapting to various audiences.
Theater:
Creation 3.1.111a: Refine, transform, and re-imagine a
devised drama/theatre work, using the rehearsal process
to invent or re-imagine style, genre, form, or conventions.
Objectives Language Demands
Today’s Learning Target(s)
Students will be able to…
(include participation objective here)
52
SWBAT: Intentionally plan Language function: Retelling of past events
and produce a devised
theater piece for a specific Vocabulary & Key Concepts:
audience Theater: Improv/improvisation, Devising/devised work, Cheat out,
Projection, Enunciation, Pronunciation
Reflect on participation in Spanish: Colaboración, Perspectivas
group task and self-assess
and notice strengths Syntax: Indicative verb, declarative sentences, and complex
sentences
Discourse: Presentational/theatrical retelling
Essential/Guiding Question(s):
● How can theater empower us and our communities?
● What is the value of hearing and sharing personal stories?

(what will it look like/sound like for students to meet learning (reflection, metacognition, self-assessment, connections
objective) to unit goals and upcoming performance task)
Teacher will observe groups as they engage in Students will complete exit ticket self-
rehearsal of devised theater piece. After assessing themselves on strengths and areas
observation, the teacher will listen in on reflection of improvement in rehearsal and content
and feedback session for growth and ensure objectives, as well as participation in group,
students are following protocol as laid out in the adherence to norms, and use of roles.
task card and adhering to group norms and roles.

Participation Norms, Roles, and Expectations Feedback and
Structures Debrief
(think-pair-share,
group-work
structures, stations,
A-B partners)
Group-work Norms: Students provide feedback

(Groups of 4-5) ● Listen to others; give everyone a chance to to each other after each
53
talk rehearsal session and work
● Ask others for their ideas together
● Give reasons for your ideas
Roles: At the end of the lesson,
● Facilitator students debrief as a group
○ Gets team off to a quick start as assess their participation
○ Checks to make sure everyone is on the before finishing an exit task
same page
where they reflect and self-
● Team Leader
○ Checks for equitable participation: Is assess themselves on their
everyone’s voice being heard? own participation.
● Captain Positive
○ Offers constructive and supportive
feedback
○ Notices strengths and abilities of all group
members
● Resource Manager
○ Makes sure each member has access to
materials and story outline
○ Acquires props if necessary
○ Ask team questions to the teacher(s)
PROCEDURES
Scaffolding &
Supports
Student Learning Accommodations, supports
Teacher Moves for language demand,
What kind of thinking are you
PACING Managing transitions & procedures grouping, protocols for
asking them to do?
establishing purpose & dialogue, graphic organizer,
How are they making meaning?
expectations, questioning methods modeling/think aloud…
(receptive, productive, interactive)
How will you stage the

supports?
Make sense of learning targets --Engage in group check-in

and connect to prior week’s work --Students share with groups
Launch
Q: What did we learn last week? and discuss learning targets
Where are we headed?
Introduce Group task and --Think-pair-share with group --AS/HFA - Intentional grouping to
have peer/buddy assist student
discuss norms: norms
and make group work more
--Listen to others; give everyone --Read through task card as a comfortable. Approach pair and
a chance to talk; Ask others for group and establish norms and at beginning and set up norms
Engage and procedures in how peer can
their ideas; Give reasons for identify responsibilities
support student with AS/HFA
your ideas
--AS/HFA - Explicit instruction and
Q: What might this look like in task cards for groupworthy task.
your group? How can you This can help provide structure
54
attend to these norms? How will and scaffolding for student so that
they can stay on task and have
you hold yourself accountable?
their own participation goal.
--Hand out Task card and have
students read through and
identify responsibilities
--Teacher observes students --Students engage in task (See --AS/HFA - Step by Step tasks
with task card and follow
work in groups as they make Task card attached at end of
procedures to complete work for
sense of the task and rehearse document) the day.
their devised production. --Rehearse devised production --LTELL - Detailed feedback to
Act! --Teacher also sits in on --Engage in feedback session help student notice strengths and
affirm multiple abilities during
reflection and feedback and with group and reflect on
group task
formatively assess students use process
of group task protocol, --Revise and Rehearse again
responsibilities, and norms
--Teacher notifies students near --Students engage in feedback

the end of the lesson to wrap up session:
in order to engage in feedback Q: What did your team do well?
session and self-reflect Did the story relate to the overall
--After group feedback session, theme? What needs work?
How can you improve next time?
Revisit learning target
Are there opportunities for
Q: How did today’s lesson expanded use of Spanish? Did
Closure connect with our work last week? you attend to the group norms?
--Revisit unit pictorial and explain What needs improvement?
plan for remaining 2 weeks of --Self-assess:
unit: Rehearse, feedback, Q: What did you do well in the
strengthen devised production, group task in relation to your
responsibilities and the group
and perform!
norms? What do you need to
work on for tomorrow’s work?

Students
● Pen/pencil and notebook
● Theme and outline for devised presentation
Teacher/Room
● Space for each group
● Chairs and desk to move around as needed
● Task cards for each group
Teacher Reflection:
55
What kinds of adaptation might
be useful? Why?
adaptation
Analysis for
Identify possible Identify possible (b) Make sense of the reason
Lesson Plan 1
ACCESS points the BARRIERS in the why that adaptation could be
Parts of the
lesson for student lesson for student useful.
lesson to
that is an LTELL that is an LTELL (c) Examine learning objective for
consider:
the adapted part of the lesson.
Have you changed what students
are (i) learning, or (ii) doing to
show their learning?
Content/Input --Group check in can --Reading task card --Read task card as a group and
i.e. what students help students make individually may be make sure that students attend to
need to access sure everyone is on the difficult everyone’s understanding before
information of the same page and
moving on
lesson. understand the
learning targets.
--Group norms ask
students to assure
everyone is following
along and to ask
questions to help every
in their understanding.
Process/ Sense --Group norms ask --Student may be --Build community throughout unit
making students to assure apprehensive when to help students gain confidence
i.e. how students everyone is following performing in other and become comfortable when
expected to interact along and to ask members performing in front of classmates
with and think questions to help every and group members.
about the content/ in their understanding.
materials.
Product/Assessme --Collaborative --Feedback may be --Detailed feedback to help

nt rehearsal allows difficult to do at end of student notice strengths and
i.e. how students students to notice class if there is little affirm multiple abilities during
need to apply & strengths and support time left;
group task
show what they each other.
understand --Student has
opportunity to try and
continue to keep trying
through rehearsal
process
56
Social Interactions --Group task norms --Students students --Leave enough time for feedback
i.e. how students support students to may not be used to and make sure all group members
need to interact work together to help working with an LTELL are aware of the need to hear all
with each other each other make and may not be as
voices and follow round robin
around the learning meaning and complete patient with them
task. the task. protocol.
57
Lesson Plan Author: Sean Wood
Content Focus: Spanish
Performance
Grade level: 10-12
Date: Week 1 Wednesday
Relevant Standards:
Content Standards Connected Language/Literacy
Standards
1.1 Interpersonal Communication: Learners interact

and negotiate meaning in spoken, signed, or written
conversations to share information, reactions, feelings,
and opinions.
3.2 Acquiring Information and Diverse Perspectives:

Learners access and evaluate information and diverse
perspectives that are available through the language and
its cultures.
Objectives Language Demands
Today’s Learning Target(s)
Students will be able to…
(include participation objective here)
SWBAT: Language function: Ask questions and interview

Engage in interpersonal
communication with a Vocabulary & Key Concepts: Perspectivas. Historia, cuentos,
member of the Spanish experiencias, entrevista, prácticas, respetuoso
Speaking community in order
to learn about cultural Syntax: Indicative verbs in question form, declarative sentences,
perspectives and norms and complex sentences
Discourse: Question and response
Essential/Guiding Question(s):
● What is the value of understanding other people’s cultural norms when engaging in
dialogue with them?
58
● What are the stories of multilingual and immigrant peoples in our community?

(what will it look like/sound like for students to meet learning (reflection, metacognition, self-assessment, connections
objective) to unit goals and upcoming performance task)
Students will engage in think-pair-share in order Students finish exit ticket and self-assess
to brainstorm ideas for discussion with guest participation in group discussion and
speaker. synthesis of ideas.
Students will participate in discussion and
synthesize their ideas and what they learned at
the end of the lesson.

Participation Norms, Roles, and Expectations Feedback and
Structures Debrief
(think-pair-share,
group-work
structures, stations,
A-B partners)
Think-pair-share Norms: Students debrief at end of

● Listen to others; give everyone a chance to the lesson and finish an
Whole class talk exit-ticket in order to self-
discussion assess their participation in
group discussion and
synthesis of ideas
PROCEDURES
59
Scaffolding &
Supports
Student Learning Accommodations, supports
Teacher Moves for language demand,
What kind of thinking are you
PACING Managing transitions & procedures grouping, protocols for
asking them to do?
establishing purpose & dialogue, graphic organizer,
How are they making meaning?
expectations, questioning methods modeling/think aloud…
(receptive, productive, interactive)
How will you stage the

supports?
Make sense of learning targets --Think-pair-share and discuss --AS/HFA - Peer buddy and
intentional grouping for student
and connect to prior day’s work understanding of learning targets
with whom they are comfortable.
Q: What did we learn yesterday Check in with peer before task
about culturally sensitive begins to establish norms and
interview practices? How will procedures for working together
Launch during think-pair-share
those help us in today’s lesson?
--AS/HFA - Frontload structure of
What are some things you will lesson and describe day’s work to
want to focus on in today’s group help student be more
discussion? comfortable.
Group discussion with guest --First, students listen to Charo’s --AS/HFA - Explicit instruction of
peer interactions and protocol to
speaker from CIELO (Charo story and background and use
help student understand how
Portaro). graphic organizer to take notes process will go; check in with
--Begin with brief introduction --Next, students use questions group to make sure all students
and background, history, and from yesterday’s work to ask will buy into procedures and
assist each group member,
experiences. about culturally sensitive practice
including students AS/HFA
Engage --Then, students are able to ask engaging with spanish speakers --LTELL - Graphic Organizer to
questions derived from previous and members of the Latinx assist student in forming ideas
day’s work and practice community. and taking notes during
discussion
--LTELL - Affirm language and
culture and offer student to also
share experiences from their
community.
End discussion, thank the guest --Debrief and thank guest

speaker, and have students speaker
reflect on participation and --Self-assess participation and
information during discussion and reflect on ideas and
discussion
Q: What did you do well during
the discussion? What are some
Reflect
ways you could have done
better?
Q: What are some ideas that will
help your group when writing
interview questions and
practicing intercultural sensitivity
during your interviews?
60
--Teacher revisits learning target Students Think-pair-share
Q: How did today’s lesson answers to reflect on learning
connect with our work target and how it will help them
moving forward.
Closure yesterday? How is this going to
help you in your project and as
you brainstorm ideas for your
interviews.

Students
● Pen/pencil and notebook
Teacher/Room
● Guest speaker
● Sample graphic organizer written on board for students to write out
Teacher Reflection:
61
What kinds of adaptation might
be useful? Why?
adaptation
Analysis for
Identify possible Identify possible (b) Make sense of the reason
Lesson Plan 2
ACCESS points the BARRIERS in the why that adaptation could be
Parts of the
lesson for student lesson for student useful.
lesson to
with AS/HFA with AS/HFA (c) Examine learning objective for
consider:
the adapted part of the lesson.
Have you changed what students
are (i) learning, or (ii) doing to
show their learning?
Content/Input --Listening to group --Frontload structure of lesson

i.e. what students and speaker may be and describe day’s work to help
need to access difficult student be more comfortable.
information of the
This could be useful so that
lesson.
students can be more comfortable
and understand the process of the
day’s work.
Process/ Sense --Group discussion --Explicit instruction of peer

making may be too many interactions and protocol to help
i.e. how students things going on; sense student understand how process
expected to interact making might be will go. This could be useful so
with and think difficult without that students have a clear
about the content/ structured support understanding of the process and
materials. --Sitting down and can follow the protocol for the
paying attention for two day.
long might cause
problems.
Product/Assessme --Reflection at end of

nt lesson may help
i.e. how students student express
need to apply & thoughts and be an
show what they outlet for thoughts.
understand
62
Social Interactions --If a student is paired --Large group --Peer buddy and intentional
i.e. how students with a buddy with discussion may have grouping for student with whom
need to interact whom they are too many things going they are comfortable. This could
with each other comfortable they may on and cause sensory be useful so that the student is
around the learning be better able to share overload if it is not more comfortable and has a
task. their thoughts and structure or things don’t reliable peer with whom they
make sense go as planned. could share.
63
TEACHER RESOURCES - BACKGROUND KNOWLEDGE
Non-fiction print resources
1. Weigler, W. (2001). Strategies for playbuilding: Helping groups translate issues into
theatre. Portsmouth, NH: Heinemann.
a. This resource provides a step-by-step outline of a collaborative playwriting
process that is accessible to artists and critical thinkers at different abilities,
experiences, and ages.
b. In this unit, students will collaboratively create a production (whether it is formally
written or exists in the oral sphere), and so this text can provide a helpful
framework to draw upon and modify to support students in collaboratively
devising work around community issues.
2. Spolin, V. (1986). Theater games for the classroom: A teacher's handbook.
a. This resource provides a vast array of theater exercises, games, and
instructional strategies that support theater teachers when working with youth of
a variety of ages and experiences. Chapters focus on various aspects of
improvisation, developing material, storytelling, playmaking, and public
performance.
b. Theater and Spanish students will begin their collaborative work in this unit
through working improvisationally, while moving toward devising and
performance.. As such, the book provides numerous teacher supports in building
early skills as well as navigating the revision/product-creation portions of the unit.
3. Mertens, D. M. (2010). Research and evaluation in education and psychology:
integrating diversity with quantitative, qualitative, and mixed methods. Thousand Oaks,
CA: SAGE Publications, Inc.
a. Ch. 9 “History and Narrative Study of Lives” would provide background
information on historical and narrative research. This would also touch on the
ethics of such research, which the students would undertake for the purpose of
creating their stories, and how to be respectful of participants and community
members.
Placed-based resources
1. The hand2mouth theatre company based in Portland, Oregon is the nearest group I
found that develops their entire season through devising. They also offer workshops with
student groups to support youth in devising theater pieces. I imagine we could attend
one of their productions and organize a Q&A session with the actors, or coordinate a
structured workshop to support our students, to draw upon the regional knowledge of
artists who regularly engage in the process of devising theater pieces for performance.
a. http://www.hand2mouththeatre.org/education/
2. Community Organization - https://www.cieloprograms.org/
a. This is an organization that provides services
(English/computation/sewing/citizenship/ GED classes, counseling, other
community services) to the Spanish-speaking community in South Puget Sound.
It is also located across the street from Olympia High School.
b. This will help students see how this program is supporting the Spanish-speaking
population in their community and how they might get more involved.
64
3. Guest Speaker - Charo Portaro (from CIELO)
a. Charo is the director of the Educational Programs at CIELO and can provide
information to students about services offered and how to get involved.
b. Students can hear a native Spanish speaking citizen who immigrated to the US
and hear her stories and how she is deeply rooted in the community. Students
can begin to get used to speaking with a Native Spanish-speaking community
member and receive authentic Spanish input.
Web resources/links
1. Theatrefolk is an excellent online organization that offers scripts, curriculum, and
supports for theater educators. This particular blog post by Lindsay Price, a well-reputed
and prolific playwright for youth, offers helpful exercises and tips for attitudes and
mindsets toward devising with students. This can be a helpful, quick reference for
teachers as they begin to engage students in devising theater pieces.
a. https://www.theatrefolk.com/blog/devising-exercises-for-the-drama-classroom/
2. Artistic director John Walton and The Guardian offer a list of basic tips for devising
theater pieces. Many of the suggestions involve important mindsets that the
collaborative group needs to remember throughout the process, so this resource can
support teachers who are less experienced with devising to stay centered on productive
attitudes and behaviors. Additionally, this source focuses on devising around researched
material, which supports our specific unit’s goals.
a. https://www.theguardian.com/culture-professionals-
network/2014/dec/16/devised-theatre-ten-tips-collaboration
3. CIELO brochure -
https://docs.wixstatic.com/ugd/a3314a_a152e6f3d1a44f0f9765440df1616d25.pdf
a. This Brochure (in Spanish) Would provide specific information about CIELO that
would help students understand more about the services offered and how the
organization impacts the Spanish-speaking community.
b. It will provide Spanish input and a general understanding of the programs offered
from the organization.
Multimedia/video links
1. The following link leads to multiple videos showing the Tectonic Theater “Moment Work”
process for devising theater pieces, as well as interviews with members of the company
and students who participated in their workshops. Text transcribed from an interview
provide further background into the company’s process and goals, and further
explanation of Moment Work. This resource is a helpful tool for teachers engaging in
devised theater to expand their understanding of the process of devising, and provide
specific tools that one professional theater group uses to begin to generate content.
a. https://jhuptheatre.org/theatre-topics/online-content/issue/volume-26-number-2-
july-2016/moment-work-interview-tectonic
2. Cross cultural communication | Pellegrino Riccardi | TEDxBergen
https://www.youtube.com/watch?v=YMyofREc5Jk
a. This is a TED talk that discusses how to communicate with people with other
cultures.
65
b. It is primarily focused on European cultures and the difficulty of detecting from
where a person may be, but could still be useful in learning how to engage in
cross cultural communication
66
RESOURCES FOR STUDENTS
❏ Academic, non-fiction texts

1. “How to Ask Latinos? Understanding Cultural Differences to Conduct Better Interviews
with Latinos” at https://www.fsg.org/blog/how-ask-latinos-understanding-cultural-
differences-conduct-better-interviews-latinos
a. This specific source is about interviewing Latinx people from the perspective of
someone who worked for a consulate in Mexico and is now working in nonprofit.
He offers tips and examples for interacting with members of the Latinx
community and certain perspectives that should be considered.
b. This will provide background information for how to interact with Latinx people
and help students develop questions to discuss how to approach their interviews
respectfully.
2. Theatre for Community, Conflict, and Dialogue by Michael Rohd
a. This “training manual” features a great outline of theater games designed to be
used in a specific sequence to support youth in devising pieces around issues.
Additionally, this resource features approaches to sensitivity, building community
across difference, and dealing with conflict through dialogue, which is helpful for
the purposes of this unit.
b. Rohd outlines day-to-day structures that theater mentors could draw on as well
as the specific improv games that would support us in the goals of devising
around issues. There is also an appendix to support specifically peer mentoring,
which theater mentors can draw from when planning for the workshops with
Spanish students.
❏ Fiction picture books

1. The Arrival by Shaun Tan
a. This wordless picture book depicts the immigrant experience, particularly as it
relates to difficulty understanding cultural meanings of an unfamiliar place and
bumping against inability to communicate with words.
b. This provides helpful background knowledge for students who haven’t
experienced living in a setting where they don’t understand the primary language,
supporting them with insights that could develop empathetic understanding.
c. Additionally, the wordless nature of this book is helpful for English language
learners at a variety of levels. It will also be a helpful source for Spanish
language learners to interpret and describe without influence of English (L1).
2. In My Family/En mi familia by Carmen Lomas Garza:
a. The author/illustrator shares her stories of growing up in Texas near the Mexican
border with short vignettes about her family’s cultural practices, food traditions,
and celebrations in a specific culture and context.
b. The text is in both Spanish and English, which helps students to connect with the
bilingual nature of our theater project and imagine possibilities for interplay
between the two languages and artistic portrayals of culture.
3. Magic Windows/ Ventanas mágicas by Carmen Lomas Garza
67
a. As above, the author/illustrator shares stories of her childhood, her family, and
culture, but focuses her artwork on cut-paper art. The stories beautifully illustrate
Mexican cultural practices nuanced with family-specific stories of how they
celebrate.
b. Similarly, the Spanish and English texts help students imagine possibilities for
play between the two languages in our theater project and artistic portrayals of
Hispanic cultures.
c. Both Spanish and theater students can access this text in two languages to have
significant conversations about Hispanic culture and language.
❏ Place-based
1. Population data for Olympia, WA: https://datausa.io/profile/geo/olympia-
wa/#demographics
a. Interactive graphs and maps displaying demographics information including
heritage diversity, citizenship, race and ethnicity, and non-English speakers for
Olympia, WA.
b. Students can explore visuals representing data for the local area. Specific
census data helps us understand the local diversity relating to Hispanic and
Latinx population.
2. Guest Speaker - Charo Portaro (from CIELO)
a. Charo is the director of the Educational Programs at CIELO and can provide
information to students about engaging in the Latinx community, certain cultural
differences to attend to, and how to be respectful when interviewing them and
listening to their stories.
b. Students can hear a native Spanish speaking citizen who immigrated to the US
and hear her stories and how she is deeply rooted in the community. Students
can begin to get used to speaking with a Native Spanish-speaking community
member and receive authentic Spanish input.
c. Additionally, Charo is a useful resource for connecting students to other Spanish
speakers and/or immigrants from Spanish-speaking countries who they might
interview for this project!
❏ Primary documents
1. Historical document - UMAS founding proposal for a Mexican American Studies
Program (1969)
http://depts.washington.edu/civilr/images/mecha/docs/pdfs/UMASProposal.pdf
a. This document speaks to the rationale and background information of the UMAS
program. Information found here might provide perspective as to Latinx and
Chicano/a perspectives in an academic setting, particularly in our own Puget
Sound area (in Seattle).
b. Not exactly relevant and I’m not sure how it would be tied in; however, it is a
historical document that is somewhat related! Students can see perspective of
the Chicano/a movement and make comparisons to their own understanding of
the issues being dealt with today. More found here:
http://depts.washington.edu/civilr/mecha_intro.htm
68
2. Video oral histories recorded with Washington State Chicano Movement activists:
http://depts.washington.edu/civilr/Latinos.htm
a. This resource provides videos where members of the Chicano movement share
their stories of activism or their personal histories.
b. This could be useful background knowledge for students to practice listening to
and talking about stories in English first, before delving into their interviews and
synthesizing information from them. Also, students can familiarize themselves
with the nature of oral histories and the value of learning about history and
culture from personal stories.
3. We are looking for a piece of legislation or other historical document that will help
students to understand some of the systemic factors the support or further marginalize
Spanish-speaking individuals in our society.
❏ Multimedia
1. “Moment Work Residency at Hunter College” https://vimeo.com/154747522
a. This is a helpful video to introduce both theater and Spanish students to Tectonic
Theater Project’s “moment work,” with both interview footage with a Tectonic
theatre artist as well as video from performance of a devised project.
b. This should inspire students to imagine what kind of work they might do in our
unit.
2. Video oral histories recorded with Washington State Chicano Movement activists:
http://depts.washington.edu/civilr/Latinos.htm
a. This resource provides videos where members of the Chicano movement share
their stories of activism or their personal histories.
b. This could be useful background knowledge for students to practice listening to
and talking about stories in English first, before delving into their interviews and
synthesizing information from them. Also, students can familiarize themselves
with the nature of oral histories and the value of learning about history and
culture from personal stories.
❏ Fiction and poetry connections

1. Voices from the fields: Children of Migrant Farmworkers Tell their Stories by S. Beth
Atkin
a. Poems and first-person narratives of Hispanic migrant children combined with
photographs and explanations of historical context articulate the power of sharing
personal narratives and expressing our personal histories artistically.
b. Both Spanish and English texts complement our language goals for Spanish
language students, helping students to imagine possibilities for integrating both
languages in their theater piece.
c. This text shines light on our specific unit goals: sharing the personal stories of
marginalized people, empowering the community through artistic portrayals of
their experiences and struggles, and moving beyond stereotypes.
2. Sol a sol : bilingual poems - A collection of poems by various Hispanic American writers
that celebrate a full day of family activities.
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a. This resource has bilingual Spanish/English poems that talk about family and
family activities.
b. This could be useful background information because it is a different type of text
that talks about stories and can provide an additional access point for talking
about family and stories from Latinx and Hispanic people. Students can become
more accustomed to these types of stories and be more comfortable when
interviewing their community members.
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Ryan and Sean - Unit Design

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Ryan and Sean - Unit Design

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Exploring Stories of Latinx

Experiences in Our Community

By Ryan Campeau & Sean Wood

Olympia School District

Introduction to unit: unit summary, essential questions, and principles …………………. 3

Culturally Responsive Principles:

Other relevant standard– sustainability

10-20 Tier 2 words 10-20 Tier 3 words

Exploring Stories of Latinx Experiences in Our

After workshopping foundations of improvisation and devising theater, your

Rubric for Theater Mentors

Leadership Effectively mentor and support new actors in developing skills in

Rubric for Performers

Performance Demonstrates basic performance skills necessary for improvisation,

Rubric for Spanish Experts (Interview)

Cultural Demonstrates transformative qualitative interviewing practices to

Spanish Students work in research teams to prepare questions in the formal

Transcription Students work in teams to draw on prior knowledge in order to transcribe,

Interview notes (in any language):

Student signature/Firma de estudiante: ____________________________

Parent/Guardian Signature/Firma de padre/guardián: ___________________

Apuntes de entrevista (cualquier lengua):

Firma de padre/guardián: ___________________

Practice interviewing someone close to you:

Interview notes (in any language):

Student signature/Firma de estudiante:____________________________

Parent/Guardian Signature/Firma de padre/guardián: ___________________

Práctica con alguien cerca contigo:

Apuntes de entrevista (cualquier lengua):

Student signature/Firma de estudiante: ____________________________

Interview notes (in any language):

Student signature/Firma de estudiante:____________________________

Parent/Guardian Signature/Firma de padre/guardián: ___________________

Write (in any language!) or sketch the story they share:

Student signature/Firma de estudiante: ____________________________

Parent/Guardian Signature/Firma de padre/guardián: ___________________

● Plan out your your story and set the stage

Group participation related

Captain positive Resource Manager

● Notices strengths and abilities of ● Acquires props if necessary

What it might look/sound like...

What it might look/sound like...

Materials: Paper to write steps

Materials: Instructions on board or poster paper with visuals

Materials: TPR games, routines, songs/videos/games for mental breaks

Strategy 4: Outlines and graphic organizers

2-3 online resources:

Strategy 1: Peer buddy / intentional grouping

Strategy 2: Explicit instruction of peer interactions

Step by Step: Explicitly teach skills to participate in think-pair-share/group discussion

Strategy 4: Step-by-step for tasks and projects

2-3 Online resources:

ELL- Long term English Language Learner (LTELL):

Strategy 1: Explicit focus on language demands, especially function and syntax

Materials: Posters with visuals and verbs/sentence starters, or mini-posters

Strategy 2: Frequent and detailed feedback with focus on benchmark standards

Rationale: Teachers sometimes hold LTELLs to lower standards. LTELLs need to be

Strategy 3: Graphic Organizers

Materials: Hard copy of graphic organizer

Strategy 4: Affirm language, family, and culture

2-3 online resources:

ELL- Student with Limited or Interrupted Formal Education (SLIFE):

Strategy 1: Visual supports to understand instructions, language demands, etc.