THEATRE TEACHERS | LESSON PLAN: BOB HENRICHS/DIRECTOR OF THEATRE, LINCOLN SOUTHWEST HS, LINCOLN, NE

Submitted by drpl_theatre on Thu, 2011-07-07 12:30

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Description

This UbD constructed activity was designed while earning my MA in Theatre Education from the university of Northern Colorado. It is designed to help students treat the performance of a song onstage as a monologue with music, where the text drives the song rather than the musical structure. The goal is for students to take a song and make it his/her own.

Materials

Stage 1: Desired Results

Standards: The successful student will perform a song from a musical. This includes the ability to use and adapt acting skills previously learned (characterization, subtext, blocking, body position, script analysis, and so on), as well as the History of Musical Theatre unit for performance in musical theatre. The successful student will be able to demonstrate an ability to learn and utilize new elements (singing, choreography, and so on) of musical theatre in performance.

Understandings. What are the big ideas? What specific understandings about them are desired? What misunderstandings are predictable?

Students will understand that . . .

• Performing a song in a musical requires the same analysis/preparation as performing a monologue in a play.

• Performing in musical theatre requires more than the ability to “sing pretty”.

• Understanding/interpreting the text of a song is key to a successful performance.

• The lyrics and the music must be prepared separately.

• The lyrics and music must be married together.

• The song must be performed in the correct style (Romantic Comedy, Drama, Presentational) of the show.

• The performer must understand how the song fits into the entire show.

Essential Questions. What provocative questions will foster inquiry, understanding, and transfer of learning?

• Why are musicals so popular?

• What makes a song in a musical so powerful?

• What are the differences between seeing a recorded performance and a live one?

• What is the difference between an ineffective performance of a song and an effective one?

• How does a song effect/alter/advance the plot of the character(s) or of the entire show?

• How does effective movement/choreography deepen the performance of a song?

• Are the lyrics of the song the “truth”, or is there subtext, or is my character “lying”?

• How does the music (melody, tempo, style) shape a performance?

• What is “range” and what is mine? What part (tenor, baritone, bass) should I sing?

• How has the performances of previous actors influenced/effected the performance of this song?

• As an audience member, what is it that impacts (positive & negative) me about the performance of a song?

• To whom, and why is my character singing?

Content Knowledge. (Topics specific to your subject area)

Students will know…

• What “range” means.

• The different vocal parts (S, A, T, BR, B)

• What vocal part best suits his/her voice.

• That a song is a monologue with music.

• How to conduct research on a song.

• How to apply script analysis to a song.

• The process of moment analysis.

• The Eight Circles to place images.

• Lyric and music preparation are separate at first,

but then must be married.

• How to apply previously learned acting techniques

(movement, gestures, voice, body position, etc.) to

a performance of a song.

Skills. (What students will be able to DO with the content?)

Students will be able to…

• Recognize and utilize the terms, knowledge,

information from the Hist. of Musical Theatre unit.

• Critique selections from PBS’ “LOST TREASURES”

• Select a song that is appropriate for his/her range/part.

• Research the show the song is from and how the song

fits into that show. What other performances have

influenced the performance of this song?

• Complete a Background and Status Quo Worksheet.

• Analyze and interpret the lyrics as a separate script.

• Analyze and interpret characters physical choices.

• Analyze and interpret characters emotional choices.

• Develop their voice for their character.

• Communicate the subtext in the song.

• Complete a Moment Analysis Sheet

• Plan and perform a performance of a song using the

desired understandings and the scoring rubric.

• Peer coach other classmates during rehearsals.

• View and assess their own performance of a song.

• View and assess other classmates’ performances.

Stage 2: Assessment Evidence

If the desired result is to understand that…

(see “understandings” from previous page)

And thoughtfully consider the questions…

(see “essential questions” from previous page)

Then you need evidence of the student’s ability to…

*-required assessment, plus choose at least one from the remaining items.

*EXPLANATION

*APPLICATION

*INTERPRETATION

*PERSPECTIVE

*EMPATHY

*SELF-KNOWLEDGE

So the assessment may include some things like…

• Present class presentation on

research on the selected song,

the show it comes from, how it

fits in the show , and any

previous performances that may

influence the performance.

• On separate piece of paper, write

out song text in paragraph form,

like a monologue, without

musical phrasing breaks.

• Complete the following

worksheets:

Background and Status Quo.

Factual Questions.

Internal Questions .

Action-Generated Emotion.

Motivation and Behavior.

Character Movement.

Character Voice.

Subtext.

• Divide printed edition of song

text into moments.

• Write out song text moments on

each line, like a list.

• Participate in “At the Table”

and “On Your Feet” Moments

Analysis Questions.

• Participates in eight Circles To

Place Images activity.

• Completes Moment Analysis

Worksheet.

• In rehearsal, uses the CD

accompaniment to marry the text

with the music.

• Final performance of song using

scoring rubric.

Stage 2: Assessment Evidence (other evidence)

• Pre-Test-Watch selections from PBS’s “LOST TREASURES” DVD. Have students describe the

performances. What elements are they already able to identify?

• Skill Check-During rehearsal, students will peer coach each other using the desired understandings and rubric.

• Skill Check-During preliminary performance, students will evaluate each performance with written comments.

• Prompt-In a musical, which is more important, being a great actor, or a great singer?

• Reflection-Analyze recorded performance and complete a Student Self-Assessment Form.

Stage 3: Learning Plan

The acronym WHERETO summarizes the instructional strategies and learning experiences that should be found in a learning plan in order to achieve the desired results (Stage 1) as reflected in the assessment evidence to be gathered (Stage 2). Note: See pages 212-225 in the UbD Workbook for further information.

W – Help the students know Where the unit is going and What is expected? Help the teacher know Where the

students are coming from (prior knowledge, interests).

H – Hook all students and Hold their interest.

E – Equip students, help them Experience the key ideas and Explore the issues.

R – Provide opportunities to Rethink and Revise their understandings and work.

E2 – Allow students to Evaluate their work and its implications.

T – Be Tailored (personalized) to different needs, interests, and abilities of learners.

O – Be Organized to maximize initial and sustained engagement as well as effective learning.

1. Give students the pre-test by watching selections from PBS’s “LOST TREASURES” DVD and asking students

to use prior skills/knowledge and probe for new ideas to evaluate each performance. W, H, E, R

2. Begin with an entry question (From what we just saw and discussed, what are the differences in performing a

monologue in a play versus performing a song in a musical?) to hook students into considering their involvement

level in the unit. TELL STUDENTS SINGING ABILITY WILL NOT PART OF THEIR GRADE. W, H, R, T

3. Introduce the Essential Questions by having class discussion. H, E

4. Bring in Vocal Music Teacher to work with students on “range” and have each student go though the process of

deciding what vocal part best suits his/her individual voice. W, E, R, O

5. Students will select a song to sing that is for their vocal part/range from The Singers Musical Theatre Anthology

Series w/ CD accompaniment. Each student will receive a burnt CD with the class songs on it. E, T, O

6. Reserved time in one of the computer labs will be used so students can research the show from which their song

is from, what is the show about, what is the style of the show, what the song is about, how it fits in the show, and

any important performances that might influence the performing of the song. Students will report findings to the

class. E, T, O

7. Students will take the text of the song, and write it out in paragraph form, creating a monologue. W, E, R

8. Based on the above research, students will complete the Status Quo, Factual Questions, and Internal Questions

Worksheet. R, E2, T

9. Transition with question (Now that you know what your song is about and you have it written as a monologue,

how do you make meaning to the text? Is it any different than when you prepared a monologue?) to hook the

students into Moment Analysis. R, O, H

10. Teacher lecture on three steps of Moment Analysis. (Lazarus 44-56) W, E, T, O

11. Students complete Step One of Moment Analysis by putting parenthesis around the words of the text to

distinguish between moments. Also, on a separate piece of paper, they will write the text with one moment on

each line, like a list. Teacher models example for students with “Over the Rainbow”. E, R

12. Using the “Rainbow” example, have several students speak aloud the text inserting a slightly perceptible pause

between each moment. Have students compare their interpretation with someone else’s. Evaluate the choices

and/or differences among the different versions. Teachers asks: Where does a moment feel to long? Could it be

divided into two or more moments? When is a moment too short? Allow multiple interpretations. W, E, R, E2

13. Transition students to stage by saying, “Now you are going to do the same thing to your text. Take your

materials over, find a place by yourself and practice aloud. Make any adjustments to your list of moments that

you think are needed. Teacher will circulate and assist and make suggestions. E, R, E2, T, O

14. Have students find a partner and have them present his/her moments list aloud. Partner should

comment/question/make suggestions about the list of moments. H, E, R, E2, T, O

15. Begin Step Two: Use Questions to Help Performers Interpret and Sage the Text by having an “At the table”

conference with each student. Questions will be answered orally, not written. Each question is answered for

each moment listed in Step One. Questions are listed in Lazarus, pg. 49. E, E2, R, T, O

16. After “Table” conference is complete, students will explore the second set of questions “on their feet.”

Performers explore several possible choices for each question. Once a choice has been explored and then settled

on (although these remain fluid), the performer can move on to the next question for that same moment or follow

that same question through ten or fifteen consecutive moments. “Feet” questions are found in Lazarus, pg. 50 &

53. E, E2, R, T, O

17. After “Table” conferences are complete, teacher will present Eight Circles To Place Images activity. E, O

18. Students will continue to explore “Feet” questions. The teacher will circulate and offer each performer “Skill

Directions” (Lazarus 51). Ample rehearsal/experimentation/Revision time will be given. E, R, E2, T, O

19. Each student will complete a Moment Analysis Form (Lazarus 52) for his/her song text.20. W, R, E2, T, O

21. Step Three: Marrying the Text and the Music. Transition by saying (Now that you have an understanding of the

text it is time to partner it with the music.) Students will be given time to rehearse memorizing the text and

putting the text and music (Lazarus 55) together using their accompaniment CD. Teacher will circulate and

assist/coach, paying extra attention to those students who struggle with the music aspects (tempo, notes, pitch,

etc). W, E, R, E2, T, O

22. As students rehearse, they will also stage their song. They will complete the Action-Generated Emotion,

Motivation and Behavior, Character Movement, and Character Voice Worksheets. E, R, E2, T, O

23. At various times in the rehearsal process, students will pair up and peer coach/direct. W, R, E2

24. Teacher will present the scoring rubric to students. Students will then use the rubric to score on of the PBS

“LOST TREASURES” performances. Discuss how each student scored the performance. W, E, E2, T, O

25. After ample rehearsal time, students will perform a preliminary performance of his/her song in front of the class.

Other students will provide written comments for each performer. Comments should include both constructive

and positive comments about the performance utilizing the work we have done in class and the rubric.

E, R, E2, T

26. After all performances are complete, students will be given more rehearsal time to alter/edit/improve his/her

performance. Time will be by his/herself as well as additional partner sharing time. Teacher will continue to

circulate and offer help/suggestions as per his own comments to the performer. E, R, E2, T, O

27. After ample rehearsal time. A final performance of the song will be given using the scoring rubric. Each

performance will be recorded. W, E2

28. Reflection. After performances are complete, each student will view his/her performance and complete a

Student Self-Assessment Form. E2, T, O

29. Prompt (After completing this unit, in a musical, which is more important, being a great actor or a great singer?)

R, E2, T, O

Full Lesson Plan

Performing A Song Unit

For

THED 680

Bob Henrichs

Sunday, December 6, 2009

Content and Learning Outcomes:

During this unit, students will be able to apply and build upon previously obtained knowledge and skills as well as new skills in order to develop their own creativity and instincts. After engaging in motivation/introduction activities, class discussions, and demonstrations, students will be able to select, research, analyze, stage and present a song from musical theatre. Throughout the creative and collaborative process, students will also be able to expand their ability to work with a partner and galvanize their own talents and maturing leadership proficiencies. Additionally, this performing a song unit will prompt higher levels of rigor and critical thinking through creative activities, guided discussions, collaborative work, and it will provide a concrete process for students to explore and expand their artistic abilities.

LESSON PLANS

Discovering Possibilities

Lesson 1

Participants: 15-20 students

Space: Black Box

Materials: Note Cards, Piano, The Singers Musical Theatre Anthology books w/

Accompaniment CDs, Several CD Players, Legal Pad, Vocal Music

Teacher, Access to Media Center Copiers.

Target age range: 14-18

Time Required: 180 min (2, 90 minute days)

Methodology: Active Participation, democratic discourse, and Socratic Inquiry.

Topic: Range/Vocal Part Assignation, Song brainstorming/selection.

Focus: Discover what his/her range/part is and then select a song to perform.

Teaching Objectives:

Create a safe learning environment.

Lower student apprehension/fear about having to sing.

Foster creative collaboration.

Prepare student’s exploration of their voice.

Student Objectives: THE STUDENT WILL BE ABLE TO:

use theatre activities as means of relieving nerves/tension/fear.

recognize and utilize the terms, knowledge, information from the History of

Musical Theatre unit.

understand vocal range and vocal parts.

collaborate with teacher to discover what his/her range/part is.

apply learning to expand their learning process.

select a song for performance that is appropriate for his/her range/part.

select a song for performance that has a style (comic, torch song) they enjoy.

DAY 1

Motivator/Introduction:

Make ‘em Laugh (Clifford 77)

Note card activity. “What are you most afraid of about this unit?”

“What are you most looking forward to in this unit?”

Discuss responses with students regarding fear of singing.

(15 minutes)

Transition: “Most people fear singing because they don’t know what their range is or what part they are, so today Mrs. Cotton is here to help you discover what vocal part you are and what you should sing. Once you know what your part is, I will help you select the song you will perform from one of these books that have the CD accompaniment included. Any questions? OK then, let’s have some FUN!”

List Activity: Assignation of Vocal Part.

Description of Activity: Students will gather around the piano. Mrs. Cotton will welcome them and then warm them up, singing scales and vocal exercises. I will model and sing along with the students. (5 minutes)

Then she will lead them in singing fun, simple, non-threatening songs (Happy Birthday, My Country ‘Tis of Thee, the school Fight Song, etc) to lessen anxiety. I will model and sing along with students. (10 minutes)

Then she and I will work individually with a student (we’ll start with those students who were excited about singing in the opening discussion, so that they will model a positive attitude). Mrs. Cotton will be at the piano taking him/her through scales, exercises, etc until she knows what vocal part to assign to him/her. I will stand at piano with each student and assist, reassure, sing along if needed and manage the other students. This process will then be repeated until every student has been assigned a vocal part.

(50 minutes)

Transition: “Great work today! I’m proud of you! See, there was nothing to be scared about. No one passed out, or bled internally, or wet their pants, right? You’ve done a lot of singing and risk-taking today, and now it is important to internalize the issue.”

Reflection: Ask each student to journal their thoughts about what they enjoyed most about the class today, or how they were changed or altered though the activities of the class period. (5 minutes)

DAY 2

Motivator/Introduction:

Bums in Seats (Clifford 45) (10 minutes)

Transition: “Now that each of you know what your vocal part is, it is time select the right song for you to sing. I want each of you to take your time. Look through the part books at the songs, maybe you’ll see a song or a title of a show that you will recognize. Take the CD and listen to the song. The CD’s have a track with a person singing the song and then there is another track with just the accompaniment and no one singing. We’ll use those eventually, but use the singing track so you know how the song goes and what it sounds like. I’ll be circulating around to each of you to ask you what kind of song you want to sing (fast, slow, comedy, drama, or from a show you know, etc) and I will be happy to sing along with you to see how you like the song. You need to listen to at least 5-6 different songs before deciding. The most important thing is to find a song you are excited to sing and that is in your range. When you think you have found the song you want to sing, come and see me. Once I approve it, write your name, your song, the book it is in, and the CD track number on the legal pad and I will make copies for you. Are there any questions?”

List Activity: Selection of the song.

Description of Activity: Students will use The Singers Musical Theatre Anthology books to “try on” several different song possibilities. They will use the included CDs to help them learn about each song. The teacher will circulate around and question each student about what kind of song they want to sing, what songs or shows in the books he/she might already be familiar with, make suggestions, and help sing through the songs on the CD. The teacher will help match the difficulty of the song with the musical ability of each student. For example, a shy, inexperienced singer may not want to select “Bring Him Home” from LES MISERABLES. Allow students to talk amongst themselves, sharing ideas, and helping each other, make suggestions, singing together, etc.

(50 minutes)

Transition: “Congrats! Now that everyone has selected a song, bring the book it is in and let’s go to the Media Center so each of you will have a personal copy of your song.”

Description of Activity: The students and I will go to the Media Center and photocopy his/her selected song. After everyone is done, we will return to class. (20 minutes)

Transition: “This is your personal copy of the song. Feel free to make more on your own time. You will need to hold on to this and have it with you in class EVERYDAY! Tomorrow I will have a CD burnt for each of you that will have the vocal and accompaniment only tracks for all of the songs in the class. You have all made an important decision. I’m interested to know why you made it. Let’s go around the room and tell us the main reason you chose the song you did. ”

Reflection: Ask each student to discuss why they selected the song they did. (8 minutes)

Troubleshooting: Allow anyone to sit out, yet encourage every student to actively participate and allow his or her voice to be heard.

Bibliography: See attached.

Developing Moment Analysis

Lesson 2

* This lesson happens well after the previous lesson. Since then, students have completed their research project/presentation on their song/show as well as having it written out as a monologue, completed the Status Quo, Factual Questions, and Internal Questions Worksheets, I have lectured over the three steps of Moment Analysis, and they have completed Step One. They are now ready to begin Step Two of their Moment Analysis.

Participants: 15-20 students

Space: Auditorium

Materials: Students’ Step One work, a Table and Two Chairs, Several CD Players, Extra

Copy of CD of Class Songs, Copies of a packet with “On Your Feet”

Questions (Lazarus 50), the “Over the Rainbow” Final Analysis (See

Figure 2-10, Lazarus 52), and the Eight Circles to Place Images in the

Text form. (See Figure 2-10 Lazarus 54)

Target age range: 14-18

Time Required: 180 min (2, 90 days)

Methodology: Active Participation, democratic discourse, Socratic Inquiry, and

Self-Motivation.

Topic: Completion of Step Two of Moment Analysis.

Focus: Use questions to help students interpret and stage the text of his/her song.

Teaching Objectives:

Create a safe learning environment.

Facilitate student’s completion of Moment Analysis Sheet.

Provide a variety of techniques to create a performance of a song.

Student Objectives: THE STUDENT WILL BE ABLE TO:

analyze and interpret the lyrics as a separate script.

apply the “At the Table” and “On Your Feet” Moment Analysis Questions.

apply the Eight Circles to Place Images to his/her song.

complete a Moment Analysis Sheet (Lazarus 52).

use theatre activities as means of self-discovery.

apply knowledge to expand their learning process.

DAY 1

Motivator/Introduction:

Pass the Pulse (Clifford 76) (5 minutes)

Transition: “Now that you have completed Step One of Moment Analysis, let’s focus on Step Two, and use questions to help interpret and stage your text on a personal level. We are going to be doing a couple of things at the same time. Each of you will begin by working on your song by yourself until I call for you. When I do, bring your Step One work and we will have about a five to eight minute chat about your text. I’m going to ask you several questions about your text that you will answer verbally. There is no ‘right answer’ and your answers may change as you continue to work. But your answers should be based on the text. When we talk I will be asking questions of you ‘the character’, not you ‘the actor’. These are the ‘At the Table’ questions we talked about earlier. I also did the ‘Over the Rainbow’ example for you. Remember? When you are done with me, you will continue to work by yourself. Are there any questions? OK, the first person at the table will be _______. Let’s get to work!”

List Activity: “At the Table” Moment Analysis Questions. (Lazarus 48-50)

Description of Activity: Each student will be called up and his/her character will be “interviewed” as described above. He/she will be asked the following questions:

• What is the situation? Briefly discuss what is happening and what just

happened.

• Is this something you (the character) is experiencing internally or externally?

• Is this a real or imagined moment? Is it grounded in reality, the imagination, or

fantasy?

• What is the time frame? Has time stopped? Is it racing, sluggish, or real time?

(See Figure 2-8, Lazarus 50)

The teacher will be USC at a table facing DS so all of the other students can be observed while each individual conference is happening. The student will be in a chair facing US. If needed, the teacher will be able to refocus students’ individual work. (75 minutes)

Transition: “Great work! Thanks for working so well, especially on your own. Get with a partner and share with each other your favorite discovery, or answer today.”

Reflection: Students get in “Share Pair” and discuss. (5 minutes)

DAY 2

Motivator/Introduction:

Columbian Hypnosis (Boal 51-55) (15 minutes)

Transition: “Now that we have analyzed your text at the table, let’s take our ideas and begin to see how we can experiment with them on your feet. I’m handing out the ‘On Your Feet’ questions that we discussed earlier. Today, I want you each to find a place to rehearse and explore several possible choices for each question. Once a choice has been explored and settled on (although these will remain fluid) you can move on to the next question for that same moment or follow that same question through several or all of your specific moments. It is up to you. Be sure you explore and decide on your Eight Circles that we did our activity on. As you work, I will be circulating around side-coaching like usual. I may offer help if I think a bigger or heightened choice might be interesting to try, or playing the opposite. Even if it is too big, or doesn’t work, you won’t know until you try it! I might say things like: play that bigger, gesture with your head, move more/less, internalize that, hear that, see that, see that image, etc. If you have questions, problems, or need help, raise your hand and I’ll come over and help you. When you are done, I want you to begin to complete your final Moment Analysis Form. Remember the one showed you for ‘Over the Rainbow’? There is a copy on the back of the questions I just handed out to you. Any questions before we begin? OK, have fun, play, experiment, stretch yourself!”

List Activity: “On Your Feet” Moment Analysis Questions (Lazarus 49-54)

Description of Activity: Each student will find a place to work and complete his/her own Moment Analysis sheet, and teacher will circulate and give Skill Directions as described above. The “On Your Feet Questions are:

• What are you (the character) doing? (action, answered with a verb based on the

text [not the actor’s blocking])

• To whom/what are you speaking? (answered, e.g., myself, over the rainbow, the

world, my past, mom)

• Where is this to be imaged? (answered with one of the eight circles)

• What is your attitude? (answered with an adverb)

• What are you feeling? (answered with an adjective, adverb, or verb)

• Are you sitting, standing, kneeling, or lying down? (answered with a verb)

• Should you move? (answered yes or no)

• Where should you move? (answered)

• What’s the dramatic truth of this moment? (answered briefly)

(Lazarus 50)

(50 minutes)

Transition: “Now that you have experimented with different choices, let’s move back to the Black Box and begin to complete your final Moment Analysis. If you need help, or have questions, raise your hand and I’ll be right over to help you.”

Reflection: In your notebook, reflect on your work today by beginning to complete your final Moment Analysis. (20 minutes)

Troubleshooting: Allow anyone to sit out, yet encourage every student to actively participate and allow his or her suggestions/ideas to be heard.

Bibliography: See attached.

References

Works Cited

Boal, Augusto. Games for Actors and Non-actors. London: Routledge, 1992.

BROADWAY’S LOST TREASURES. Christopher A. Cohen. Acorn, 2003. DVD.

Clifford, Sara, and Anna Herrmann. Making a Leap: Theatre of Empowerment : a practical handbook for drama and theatre work with young people. London: Jessica Kingsley, 1999.

Lazarus, Joan. Signs of Change: new directions in secondary theatre education. Portsmouth, NH: Heinemann, 2004.

National Textbook Company. Theatre Art in Action. Teacher’s Manual ed. Linwood: National Textbook Company, 1999. Print.

Walters, Richard, ed. The Singers Musical Theatre Anthology. Rev. ed. 8 vols. Milwaukee: Hal Leonard, n.d. Print.

Wiggins, Grant, and Jay McTighe. Understanding by Design. Expanded 2nd ed. Upper Saddle River: Pearson Education, Inc, 2006. Print.

Attachments

UbD Worksheets

Comments

very interested in leson plan

by vapena1 - 2011-07-26 17:52

Hi Bob,

I commend you on all the work you poured into your UbD. I am very interested in doing this lesson with my kids. Problem is it is really difficult to see on the theatreteacher.com website. Could you please email a copy or a link to the published lesson plan? My email is vapena1@hotmail.com. Hope to hear from you soon.

Thanks,

Veronica

LESSON PLAN: BOB HENRICHS/DIRECTOR OF THEATRE, LINCOLN SOUTHWEST HS, LINCOLN, NE

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Comments

very interested in leson plan

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