TOPICAL OUTLINE

Document Sample
TOPICAL OUTLINE Powered By Docstoc
					IB Theatre HL
2008 - 2010

Instructor Information:               Web site:
Name: Mr. Stephen Coats               http://hrsbstaff.ednet.ns.ca/scoats
Email: scoats@staff.ednet.ns.ca       Office Hours: By appointment


Course Description:

IB theatre students experience the art of theatre by participating in all
aspects of the theatrical experience in very personal ways. Students will
research, read, and analyze plays from a variety of historical and cultural
traditions, develop conceptual interpretations for production, envision
and design the technical elements, and direct actors and action for
actual performance. Students will explore and practice the knowledge
and skills needed to know and appreciate the full theatre experience. This
class meets outside of the regular class day and requires significant
commitment to participation in school productions.

Course Goals/Objectives:

The student will be able to:
   1. Use and understand theatre vocabulary.
   2. Demonstrate knowledge of the major developments in theatre
       history.
   3. Demonstrate the ability to interpret, create and illuminate play
       scripts and other theatrical texts analytically and imaginatively.
   4. Demonstrate an understanding of the principles of set design.
   5. Demonstrate an understanding of the principles of costume design.
   6. Demonstrate an understanding of the principles of lighting design.
   7. Demonstrate an understanding of the principles of sound design.
   8. Demonstrate an understanding of the principles of properties
       design.
   9. Demonstrate an understanding of the art of the stage and criticism
       in relation to it.
   10. Perform before an audience and demonstrate an understanding of
       and skill in specific acting techniques.
   11. Demonstrate an ability to direct a theatrical scene.
   12. Demonstrate an ability to critically evaluate and judge theatrical
       productions.
Instructional Methods:
A variety of instructional methods including, but not limited to:
(1) lecture, (2) workshops, (3) group work and activities, (4) guided
reading, (5) teacher-evaluated class performances, (6) assignment of
individual acting, directing, and design projects, (7) required theatre
attendance, (8) theatrical criticism and post-show discussions

Materials for Course:
   1 flexible 3 ring binder (may be ½” or 1” size)
   1 package of loose leave paper (college ruled)
   1 marble composition notebook
   Plenty of pencils and highlighters
   Teacher-designed handouts

Make-up Work Policy:
It is imperative that students see the teacher the day they return to school.
Do NOT wait until the next class to meet with me. I will not discuss missed
work during class time. If students know of upcoming absences for the
school year, students can request work before leave is taken.

Late homework will not be accepted unless the student has an excused
absence. Quizzes and tests MUST be made up the day the student returns
to school regardless of whether or not the student has Introduction to
Theatre class that day. Papers, projects and other major assignments lose
five points per day for every day they are late for two weeks. After two
weeks these assignments will no longer be accepted.


Classroom Procedures/Policies:
1. Respect others in the classroom. The study of theatre is (somewhat)
subjective and everyone’s ideas are (most definitely) important. When
other students or the teacher are speaking or sharing ideas listen with an
open mind – and never interrupt. Raise your hand and hold your question
or comment.

2. Each student must arrive to class on time, appropriately dressed and
ready for all class activities. Students will receive a detention for using cell
phones in class. Use of a watch is an acceptable method of time telling,
cell phones are not.

3. Homework must be completed before class begins. In order to receive
any credit, the homework must be at least 75% complete and must reflect
thinking and effort that reflects positively on both the student and the
task. Handing in mere writing or typing that fills up space on a page does
not constitute a competed assignment. The quality of a project and of the
student’s investment in the project is defined by the content, not by the
mere expenditure of paper and ink. Students will not be permitted to
leave the room to retrieve materials after the class has started.

4. In order to make all assignments easily accessible, homework will be
posted on the teacher’s website. This website can be accessed through
the Citadel High School general website or directly at the web address
above. Call a friend for homework information if your computer is not
working. Not knowing the homework assignment will not be accepted as
an excuse for failure to complete assignments.

5. The teacher reserves the right to amend this syllabus at any time.



Evaluation Methods:

                 Description                     Percentage of Grade
Total Points (Internal & External                       100%
Assessments)
Everyone comes to the course with different interests, abilities, and
backgrounds. Your grades are not assessments of your ideas or character,
but rather a reflection of the quality of your work and your effort in the
course. If you arrive at class regularly without the necessary tools, misuse
class time dedicated to the rehearsal process, or do your written work at
the last minute you will not earn a good class participation grade. I will act
responsibly, respectfully, and compassionately as your teacher. I expect
the same from you, each day we are together.
TOPICAL OUTLINE: A POSSIBLE PATH FOR IB Theatre HL

Topic                           Performance Objectives
Introduction to Course          1. Recognize, define, and explain the core
                                   components of the course:
Core Components,                       a. Theatre in Performance
Assessments, and Requirements          b. Theatre in the Making
                                       c. Theatre in the World
                                       d. Independent Project
                                       e. Student Journal
                                2. Recognize, define, and explain
                                   assessments:
                                       a. Internal (50%):
                                                 Independent Project
                                                    Portfolio (IPP) 25%
                                                 Theatre Performance &
                                                    Production Presentation
                                                    (TPPP) 25%
                                       b. External (50%)
                                                 Practical Performance
                                                    Proposal (PPP) 25%
                                                 Research Investigation (RI)
                                                    25%
                                3. Distinguish between HL (higher level) and
                                   SL (standard level) requirements

                                1. Define, identify, and recognize
                                   components of Aristotle’s dramatic theory
Greek Theatre                      and criticism: elements of writing, and the
                                   unities of time, place, and action
Poetics, Aristotle              2. Recognize, identify, and explain elements
                                   of Greek drama: staging and
Antigone, Sophocles                performance, design, tragedy and
                                   comedy, plot, theme, characters, setting,
Lysistrata, Aristophanes           conflict, and conflict resolution
                                3. Recognize, identify, and explain the
                                   dramatic structure of simple and complex
                                   plays: stasis, rising action, climax
                                   (anagnoresis, peripetia), falling action, and
                                   new stasis
                                4. Recognize and explain the cultural,
                                   historical, and political significance of
                                   Greek drama
                                5. Paraphrase passages from Sophocles’
                                   Antigone
                                6. Interpret, analyze, and perform scenes
                                   from Sophocles’ Antigone.
                                7. Record personal growth and
                                   understanding in student journal
                                8. Use appropriate theatre vocabulary in oral
                                   and written communications

                                1. Recognize and explain relevant dramatic
                                    theory and criticism
                                2. Recognize, identify and explain elements
                                    of Spanish and Latin American drama: text
                                    and non-text traditions, staging and
                                    performance, design, plot, theme,
Spanish and Latin American          character, setting, conflict, and conflict
Theatre                             resolution
                                3. Recognize, identify, and explain the
Blood Wedding, Federico             dramatic structure of Spanish and Latin
Garcia Lorca                        American text and non-text works: stasis,
                                    rising action, climax, falling action, and
Legislative Theatre, Augusto        new stasis
Boal                            4. Recognize and explain the cultural,
                                    historical, and political significance of
Theatre of the Oppressed,           Spanish and Latin American drama
Augusto Boal                    5. Paraphrase passages from Federico Garcia
                                    Lorca’s Blood Wedding
Video:                          6. Interpret, analyze, and perform scene from
Augusto Boal and Theatre of         Federico Garcia Lorca’s Blood Wedding
the Oppressed in Rio De Janeiro 7. Explain the genesis and principles of
                                    Augusto Boal’s “Legislative Theatre”
                                8. Explore the relationship between performer
                                    and audience through the creation and
                                    performance of a legislative theatre piece
                                9. Record personal growth and
                                    understanding in student journal
                                10. Use appropriate theatre vocabulary in oral
                                    and written communications




                                1. Recognize and explain relevant dramatic
                                   theory and criticism
                                2. Recognize, identify, and explain elements
                                   of Commedia Dell Arte: improvisation, lazzi,
                                   gesture, stock characters, masks, costumes,
                                   staging
                                3. Recognize, identify, and explain the
                                   dramatic structure of text and non-text
                                   Commedia scenarios
                               4. Recognize and explain the cultural,
                                  historical, and political significance of
                                  Commedia Dell Arte, and puppetry
Italian Traditions: Commedia   5. Make puppets suitable for Commedia
Delle Arte, Puppetry              performance
                               6. Write and perform a Commedia scenario
“Punch and Judy”               7. Improvise and perform a Commedia
                                  scenario
                               8. Record personal growth and
                                  understanding in student journal
                               9. Use appropriate theatre vocabulary in oral
                                  and written communications

                               1. Recognize and explain relevant dramatic
                                  theory and criticism
                               2. Recognize, identify, and explain the
                                  elements of Elizabethan drama: staging
                                  and performance, design, tragedy (tragic
                                  hero, tragic flaw, downfall), monologue,
                                  soliloquy, aside, dramatic foil, theme, plot,
                                  characters, setting, conflict, and conflict
                                  resolution
                               3. Recognize, identify, and explain the
                                  dramatic structure of Elizabethan drama:
                                  typical 5 Act formula, stasis, rising action,
                                  climax, falling action, and new stasis
                               4. Recognize and explain the cultural,
                                  historical and political significance of
Elizabethan Theatre and           Elizabethan theatre
Cultural Resonances            5. Paraphrase passages from Shakespeare’s
                                  Othello
Othello, Shakespeare           6. Explore the cultural resonances and
                                  relevance of two modern plays inspired by
Goodnight Desdemona (Good         Shakespeare’s Othello: Ann-Marie
Morning Juliet), Ann-Marie        MacDonald’s Goodnight Desdemona
MacDonald                         (Good Morning Juliet), Paula Vogel’s
                                  Desdemona, A Play About A Handkerchief
Desdemona, A Play About A      7. Interpret, analyze, and perform scenes
Handkerchief, Paula Vogel         from one or more of the following:
                                  Shakespeare’s Othello, Ann-Marie
                                  MacDonald’s Goodnight Desdemona
                                  (Good Morning Juliet), Paula Vogel’s
                                  Desdemona, A Play About A Handkerchief
                               8. Record personal growth and
                                  understanding in student journal
                               9. Use appropriate theatre vocabulary in oral
                                  and written communications
                              1. Recognize and explain relevant dramatic
                                 theory and criticism
                              2. Recognize, identify, and explain elements
                                 of Asian an Ancient Indian drama: staging
                                 and performance, design, plot, theme,
                                 character, setting, conflict, and conflict
                                 resolution
                              3. Recognize, identify, and explain the
                                 dramatic structure of Asian and Ancient
                                 Indian drama
                              4. Recognize and explain the cultural,
                                 historical, and political significance of Asian
                                 and Ancient Indian drama
                              5. View, interpret, analyze, and criticize Sagi
                                 Musume
                              6. Interpret, analyze and perform scenes from
                                 King Shudraka’s The Little Clay Cart
                              7. Record personal growth and
                                 understanding in student journal
                              8. Use appropriate theatre vocabulary in oral
                                 and written communications
Theatre of Asia and Ancient
India                         1. Recognize and explain relevant dramatic
                                 theory and criticism
The Little Clay Cart, King    2. Recognize, identify, and explain elements
Shudraka                         of existential drama: staging and
                                 performance, design, plot, theme,
Videos:                          character, setting, conflict, and conflict
The Theatre of Asia: An          resolution
Introduction                  3. Recognize, identify, and explain the
                                 dramatic structure of seminal existentialist
Sagi Musume: Kabuki Dance        drama (Samuel Beckett’s Waiting for
                                 Godot; Rockaby): stasis, rising action,
                                 climax, falling action, and new stasis
                              4. Interpret, analyze and perform scenes from
                                 Samuel Beckett’s Waiting for Godot;
                                 Rockaby
                              5. Record personal growth and
                                 understanding in student journal
                              6. Use appropriate theatre vocabulary in oral
                                 and written communications

                              1. Explain the process and principles of a
                                 variety of directors through an
                                 examination of Arthur Bartow’s The
                                Director’s Voice and In Transit—Hidden
                                Directions
                             2. Identify, understand, and incorporate
Existentialism                  ideas, strategies and methods that can
                                 be used in a professional and
Waiting for Godot, Samuel        educational context to add physical
Beckett                          dimensions to performance—Creating
                                  Physical Theatre—The Body in
Rockaby, Samuel Beckett           Performance
                             3. Talk and write about the role of theatre
                                 as: a means of exploring identity,
                                 values, and principles; a means of
                                 providing a mediated dialogue between
                                 communities within the context of a
                                 particular culture—Altered
                                 States: Theatre in a World of Social and
                                 Political Change—IRELAND
                             4. Integrate knowledge and
                                 understanding of how performance
                                 companies from around the world devise
                                 theatre by creating an original piece of
                                 drama—The Great Deviser—Devising Work
                             5. Articulate connections between past
                                 units of study in oral and/or written form
                                 thereby demonstrating a nuanced
Integrating the Course:          understanding of the core components
Expanding Understanding of   6. Record personal growth and
Core Components, Assessments     understanding in student journal
                             7. Use appropriate theatre vocabulary in
The Director’s Voice, Arthur     oral and written communications
Bartow

Videos:
The Great Deviser—Devising
Work

Creating Physical Theatre—The
Body in Performance

Altered States: Theatre in a
World of Social and Political
Change—IRELAND

In Transit—Hidden Directions

				
DOCUMENT INFO
Shared By:
Categories:
Tags:
Stats:
views:5
posted:7/12/2012
language:
pages:9