Year 10 – Unit Outline

Drama – Close Study Stage-5 Duration: 7 weeks

of Text

Details: 21 lessons/hours

In the middle - Atwell

Teachers can sometimes be too ridged in their development of lesson plans and outlines of the unit, focusing on the needs of the curriculum rather than the

individual needs of the students. By adapting from a teacher focus approach and making leaning child centred, pedagogy can be targeted and effective.

However, our aim is for students to be able to use writing to demonstrate an understanding of knowledge/skills: Theme, Perspective, Representation and

context. Achieving the required writing outcomes needs directed learning from the teacher and following of curriculum standards. Therefore an integration of

both student and teacher oriented goals is required for the best approach to pedagogy.

The text in the middle is both a useful tool and a critique in methods pedagogy and provide alternative ways in which content can be taught effectively. In the

Middle takes is a book dedicated to the critique of pedagogy examining teachers who focus on a “scripted” approach to their teaching wielding the curriculum

heavily to help students become great writers. By taking an “evolutionist” approach and focusing on a child centred teaching in areas of expectations, writing,

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reading and learning a teacher is far more effective in developing great writers. Mini-lessons are useful tools that are effective in having a narrow focus in a

skill or concept that will be used to relate to a larger lesson for reading or writing.

The discovery of literature independently and the action of reading for pleasure is a concept many teachers struggle to pass on to students, Atwell describes

the idea of a model reader who looks up every unknown word is a fantasy, having an expectation that students will just perform this way Is illogical. Most

readers will instead opt to talk about what they have read with peers, what they have enjoyed about a text and specific scene they found stimulating. This

should be how reading is modelled in the classroom, by using mini-lessons allowing students to choose their own texts to read and assessing their reading

through dialogue journals, Atwell describes this to be a better method in encouraging reading and comprehension. The mini-lesson can then be integrated

into a larger classes in which students are asked to use their dialogue journals more directly and in analytic conversation. An effective teacher is therefore

able to both integrate intrinsic motivation for reading and comprehension and teach to curriculum standards, functioning both as a listener and a teller.

Discussion

Nancie Atwell’s approach is to encourage students to become better readers and writers at the same time. By urging students to write more and read more

they will effectively become better at both. The teachers understanding that these are mutually dependant processes is incorrect. In my opinion I agree with

most of what she has to say about improving literacy learning. However, I am less enthusiastic about how she has expressed these ideas, the book covers

her personal anecdotal evidence that writing and reading are not mutually exclusive and that educators should explore the possibility for combining them

more meaningfully. Doing so may require the reconsidering of the standard relationship between class, curriculum and learning. Furthermore the book places

importance on teachers being teacher researchers first and educators second. My issue was with the autobiographical accounts on key concepts within the

book, through the chapter of “writing workshop” in which she talks about how she “started out as a creationist” and her endorsement in how she has become

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Drama - Close Study of Text
sufficiently enlightened enough to use a non-traditional format to the classroom. Her purpose here is to demonstrate the effectiveness of her writing and

reading workshop and incentivise other teachers to use it, however through her narrative structure and narrative voice it comes across as if she is

establishing educators as either unenlightened. To me as a reader, it would have been far more effective to produce examples of the workshop in use from

the perspectives of other teachers and their individual comments on its effectiveness. As this is a piece designed for me to implement into my pedagogy far

less anecdotal evidence and biblical language of enlightenment would have made for more interesting reading.

Writing to demonstrate particular skills/knowledge

This outline requires students to engage in the close study of a dramatic text. It develops students’ understanding of how the ideas, forms and language of a

text interact within the text and may affect those responding to it.

Students engage with the text to respond imaginatively and critically. They explore and analyse particular characteristics of the text, considering how these

shape meaning. They also consider the ways in which these characteristics establish the text’s distinctive qualities. Composition focuses on meaning shaped

in and through the text. These compositions may be realised in a variety of forms and features.

Outcomes English Textual Concept focus

EN5-1A responds to and composes increasingly sophisticated and
sustained texts for understanding, interpretation, critical analysis,
imaginative expression and pleasure
Theme - Theme reinforces ways of thinking and being in a culture.
Students learn that
● theme emerges out of the relationship between a responder, composer, a
text and a culture
● themes are often conveyed through non-literal elements of a text, including
metaphor, symbol, structure

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 EN5-2A effectively uses and critically assesses a wide range of
processes, skills, strategies and knowledge for responding to and
composing a wide range of texts in different media and technologies
EN5-3B selects and uses language forms, features and structures of
texts appropriate to a range of purposes, audiences and contexts,
describing and explaining their effects on meaning
EN5-5B thinks imaginatively, creatively, interpretatively and critically
about information and increasingly complex ideas and arguments to
respond to and compose texts in a range of contexts
EN5-9E purposefully reflects on, assesses and adapts their individual
and collaborative skills with increasing independence and
effectiveness
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● some discourses foreground particular themes
● themes may become archetypal in the representation of a culture across
texts and contexts
● critical perspectives are a way of interrogating archetypal themes*
Context - Students understand how the complexity of their own and of other
contexts shape composition and response to texts.
Students learn that
● their perceptions of the world are filtered through their own context
● context shapes language, forms and features of texts
● language, forms and features of texts inscribe values and attitudes in their
representations of people, information and ideas
● texts may be responded to and composed differently in different contexts.
Perspective - Students understand that perspective provides a frame through
which we learn to see the world.
Students learn that
● the world and texts may be seen through particular frames.
● views of the world may be exploited for particular purposes
● readers and viewers may be positioned to accept particular views.
Representation - Students understand that representation embeds attitudes,
beliefs and values.
Students learn that
● representation may be intentionally or unintentionally biased
● representation reinforces or challenges existing values and ways of thinking
or may attempt to reshape them
● representation favours or privileges a position by omitting or silencing the
views or perspectives of particular groups.
Drama - Close Study of Text
Assessment
Assessment for learning
Students answer the focus questions at the start
of the unit and the end to see their level of growth
in knowledge and understanding
Text
● Nick Enright, Blackrock
Importance/good practice
Students are introduced to the
module of drama both teacher
and student learn together.
Teacher ( students level and
understanding)
Student (what is drama)
Assessment as learning Assessment of learning
Various in class and Homework activities Assessment task completed - students to
compose their own script based on their studied
play
- Additional scene
- Different ending
- Sequel
Teaching and learning
Studying a Drama
Students to complete a mindmap/brainstorm (either independently or as a class) about their understanding of dramatic
texts.
● What is a drama?
● How is drama different from other forms of writing?
Students discuss the importance of studying a dramatic text.
Students are provided with information about dramatic elements. This includes:
● Language forms, function and features
● Acts and scenes
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Students are given the
opportunity to pick a text that
they enjoy, while the teacher is
set with defining
understanding,
Or teacher chooses a text and
presents dot points for
classroom discussion
Ensuring that students and
educator all read and
participate together helps to
satisfy the relationship
requirements of at wells
method.
A cloze passage could be
used for a class that reads at
home so an educator can mix
both reading and writing skills
Class discussion in which the
teacher and students
participate mimics the
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● Dramatic Techniques
- conflict, symbols, motifs, character, costuming, dialogue, dramatic irony, soliloquy, staging, props, asides.
The Structure of the Play
Students are introduced to the structure of a play through handouts and visual representations of dramatic structure.
Context of text
Students to research information specific to their chosen play. Ensure students have an understanding of:
● The composer of the play
● Background information pertinent to the study of the text
● Historical events or characters that have influenced the construction of the play
Alternatively, teachers can compile contextual information for their chosen play and present to students. This can be
done in the form of a PowerPoint or through research stations.
Reading the play
Students to take on roles from the play and read aloud as a class. To gain continuity, students should read the play in
its entirety.
Students, without prompting or clarification, to write a paragraph outlining the plot of the play. Students to share
responses with the class to gain a deeper understanding.
- create a visual timeline
After ideas have been shared, students to write another paragraph.
An alternate task is to complete cloze passage.
Setting
Students to discuss the importance of the setting of their chosen play.
Drama - Close Study of Text
conversations that Atwell
describes at the dining table.
Students are tasked to both
read characters in the play
then discuss and write about
them combining reading and
writing elements
Things to consider:
● Culture being represented
● Techniques used to explore setting (asides, stage directions, dialogue)
● Era
Teacher led scene analysis with a focus on setting. Students may also choose to look at a separate extract to further
enhance their understanding of setting.
Students to design a set, taking into account props, stage format and character movement.
Creative Writing
● Write a descriptive paragraph that describes the setting of the chosen play. This must be in the form of a narrative.
Characters
Students to look at characters from the play in detail. Discuss how the characters of their play can be a medium through
which ideas and societal attitudes and values are conveyed.
Teacher may choose to look at extracts from the play to consolidate understanding of characters and discuss the
importance of characters within the context of the play.
Guiding questions:
1. What stereotypes are present in your text?
2. Which character would be the foil for the protagonist?
3. What characteristics do the foil character and protagonist have in common, and which characteristics are
different? Complement ?
4. Consider the characters from your text. How would individuals with different personal and cultural backgrounds
respond to these characters?
Character activities:
● Character web. Students to consider the ways in which each character connects with each other within the text.
● Character profiles. Students to choose a number of characters from their text and create a profile outlining how
they represent a type of person, societal idea or societal value. You must include dialogue and actions from the
text to support their claims.
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Modelled in the character
point.
By facilitating small groups in
class that both targets reading
of the play and the writing of
answers facilitates the
workshop part of Atwells
method.
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- write a monologue about a key event from the point of view of a main character
- create a playlist for the character based on your understanding of them from the play (music)
Dynamic Dialogue:
Students to select two characters from the play and compose a conversation using explicit dialogue, exploring character
views on an event from the play.
Representation
embeds attitudes, beliefs and values
biased
influences context
favours a position
Themes
What is a theme?
A theme is a statement about life, arising from the interplay of key elements of the text.
Mindmap - Students to work in small groups or independently to brainstorm some of the key themes from their chosen
play. Discuss suggested themes and assign minor or major status.
Modelled, guided and independent activity:
Teacher to select at least one extract from their chosen play that highlight a major theme. Annotate the extract with
students to ensure they are able to deconstruct texts independently. Focus on:
● Techniques that support the theme
● Choice of language and imagery
● Motif, parallel plots and/or characters
In small groups, students are to select a different extract and annotate it with guidance.
Independently, students to select an extract and annotate it. They must draw upon the key ideas from the extract with a
focus on the techniques, language and how elements of a text work together to support the theme.
Students to select a theme from the text and write a short narrative that also explores this theme.
Drama - Close Study of Text
Using lenses and talking about
lenses in the classroom allows
for an environment with
listeners and tellers. As many
individuals in the classroom
may relate to a lens more and
provide a unique perspective.
The researching and exploring
of the lens in the play give
students an opportunity to
improve their reading and
comprehension skills as the
teacher and students are now
able to see the play though
new lenses.
Perspective
Teacher led discussion on perspective. Provide students with information about the English Textual Concept, focusing
on the different lenses through which we view a text.
● What is perspective?
● Why is it important to consider different perspectives?
Introduce students to each of the following lenses:
- Historical
- Gender
- Readers
- Socio-Economic
- Race
- Psychological
- New Criticism
- Spiritual
(an outline of these is on the Google Drive - 8 Critical Lenses)
Students to work in assigned groups to research and explore their given lens. Students to complete questions for their
lens. (Teacher may allow students to present their information to the class, or submit on Google Classroom)
Students to select an extract from the text that relates to their lens and complete the questions from the ‘8 Critical
Lenses’ resource.
Consider the language devices and visual choices of the composer.
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References

Atwell, N. (2014). In the middle

Enright, N. (1996). Blackrock (play). Currency Press.

NSW, B. (2018). NSW Syllabus :: Stage 5 content. Retrieved from https://syllabus.nesa.nsw.edu.au/stage-5-content/

Why textual concepts?. (2018). Retrieved from http://englishtextualconcepts.nsw.edu.au/

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Drama - Close Study of Text