Feb 142011
 

Thought I’d try a bit of live blogging from the classroom.

Year 9 Drama. Cohort: 14 year-old girls x 15 students. Comedy course exploring satire, parody, slapstick, farce.

Doing Part 1 of a two-part task exploring satire, but the notion of satire and parody not introduced yet.

Students have chosen a well-known celebrity to accurately mimic in their first performance. Aim: realistic imitation (Part 2 coming up in a few lessons time where aim will be to exaggerate the first performance).

Task origin: Centre Stage text by Matthew Clausen.

Students currently doing final rehearsal around classroom very quietly. They are taking task very seriously, which is both scary and a good thing – a very good thing :-)

13 students remembered costume. 2 brought nothing or part-costume. Typical for Year 9, so no concerns there.

Background: first time a solo performance has been introduced in their Drama studies at school, so plenty of nerves evident! 2-minutes only – keeping it easy to start off with.

Will update as it happens.

Update: Characters:

  • Justin Bieber – the ego of the man (boy!) very evident in performance!
  • Paris Hilton – accent, long blonde wig(!), lots of hair flicking, ego evident here, too
  • Jamie Oliver – nailed his accent (spot on – research evident), cooking class, hands moving everywhere just like Jamie :-)

Class (audience) silent during performances, as requested. Right atmosphere in the room absolutely vital.

Update:

  • David Attenborough – accent (of course!) plus the whisper, brief focus loss, hand gestures, very enthralling, drew the audience in
  • Oprah Winfrey – performer interacted with the class well as TV show audience, class really felt a part of the performance, HUGE facial expressions, Oprah very excited (about almost everything), research into Oprah’s gestures clearly evident
  • Lindsay Lohan – lots of “whatever”, “like…” and “you know….”, recent theft allegations topic of performance
  • Michael Jackson – “the” glove, interview-based performance, empathy felt by audience, research evident in student-written script, the importance of getting the subtleties of MJ’s mannerisms and facial expressions became crystal clear
  • Raphael Nadal – post match press conference, Spanish accent very good and clearly well-researched, tennis costume complete with oversized headband, very accurate mannerisms and hand movements, tone of voice etc all good

Update:

  • Eddie McGuire- local TV personality and football club President – student had line-learning difficulties and chose to perform without script although given option to use it – lesson in focus and how to retrieve lost lines as an actor
  • Britney Spears – blonde wig, not enough of Brtiney evident in performance, instead I saw a student in a wig – mannerisms and gestures needed work
  • Christina Aguilera – seating position, dialogue, hand gestures all well-researched – Aguilera’s facial expressions needed to be more obvious in order for character to be more convincing – also, emotional side of character needed work – tough call for a 14 year-old, though
  • Steve Irwin – focus issues, not deep enough into character, eyes drifting into audience, merely going through lines – all part of the learning process so nothing to worry about

Update:

  • Keisha (singer)  – on the tour bus, very well-researched actions & gestures, accurate dialogue and great accent – sounded, looked and behaved like the singer, herself
  • Julia Gillard – Australian Prime Minister  -  press conference, more facial expressions needed, too much of the actor evident in performance and not enough character, hand gestures spot on
  • Barack Obama – nerves, nerves, nerves – all part of learning to be an actor/Drama student

A lesson in-between coming up to work on Part 2 of the task. This will involve exaggerating all the four expressive skills of voice, movement, facial expressions and gestures in order to satirise or parody the celebrity character. All of these characters have “room to move” in order for the actor to enhance them – either through movement and physical actions and/or verbally (accent, tone etc). Looking forward to Friday’s lesson for the 2nd set of performances – same script, performed differently. These ought to be hilarious. Will live blog again then – Friday 18 february 11.45am AEDT (UTC + 11).

Oct 282010
 

One of my Year 8 Drama classes is currently researching Broadway costume and scenic designers. The task involves them researching the designer’s life, education and career in the theatre, including locating text,  images and videos of their work. Along the way, students must decide which production/s the designer is best known in the industry for? All text must be in the student’s own words and the final project is submitted in the form of a website using Apple’s iWeb. In this example, the site is not published to the web, but uploaded to the school’s content management system Moodle, for teacher assessment.

This theatre design project has opened up a whole new world for many of the 14 year-old girls in the class. Not only have they learned about the importance of costume and scenic design in the theatre, but everyone learned that at their age, nearly all of them have only been exposed to musical theatre, most of it originating from Broadway. They also learned what a Tony Award is and even though all of them had visited the Internet Movie Database (IMDB) many times before, they have now discovered there is an Internet Broadway Database (IMDB as well!

Their avenue into this task involved choosing a favourite stage musical, preferably one they had seen themselves in the theatre, and then decide upon their favourite aspect of the show – sets, costumes or lighting. From here, students researched the various designers for the show’s original or local run. No students in the class chose to research a lighting designer, probably because at their age the lighting in a stage show is not as tangible to access and understand as sets or costumes.

Here’s a few designers my Year 8 students are currently researching:

Susan Hilferty: costume designer Wicked (Broadway):

Julie Taymor: costume designer The Lion King (Broadway):

Janet Hine: costume designer Hairspray (Melbourne):

Christine Jones: scenic designer American Idiot and Spring Awakening (Broadway):

Gregg Barnes: costume designer The Drowsy Chaperone and Legally Blonde (Broadway):

Oct 192010
 

Thought I’d just pop up an informal report on today … a standard day in the life of a high school Drama teacher.

The day began with every one of my Year 12 Drama students attending a Period 1 written examination preparation session at 8.45am. Doesn’t seem too special until you realise they all agreed to come into school (after lessons had concluded for the year) the morning after their Graduation Ceremony. Bleary-eyed as some of them were with only a few hours sleep, you’ve got to be mighty proud of their commitment and discipline. I even scored a lovely gift and card from one of my students.

The next lesson of the day was interesting. With our school preparing to become a laptop school in the near future, the folks at Apple have loaned us a class set of Macbook Pros. One of my Year 8 Drama classes had been chosen to be the class with all the tech gear for the next few weeks. I was looking forward to being able to use the technology, but knew these laptops would arrive at busy time of the year for me. Consequently, I rearranged the next topic on the fly in front of the students, rearranging a costume design assignment into a research assignment on a professional set, costume or lighting designer, with the aim of transferring the information into a small website for each student using iWeb.

Nervously “making it up as I went along”, once the students hit the laptops to do the research, I was really struggling with a way to find an angle that would get this assignment inside a 14-year old girl’s head and make it interesting. Hell, I was embarrassed (with myself!?) that I could only think of one costumer designer off the top of my head (Julie Taymor – The Lion King), so how were my students going to find some? Well, they thought of the angle that I didn’t, of course. The “way in” was to think of a show (usually a musical with this gender and age-bracket) that you have seen and then recall the part you loved the most (set?, costumes?, lighting?), then research the designer for the original or local production and off you go! My lesson went from nowhere to everywhere in 15 minutes! It was like a bullet train and before I could finish a cup of coffee (woops!) I had students quietly discussing with others what they were doing. We had students researching set and costume designers for productions of Mary Poppins, Wicked (a popular choice), Hairspray and many others. Hearing students say “Hey, she’s won a Tony, what the hell’s that?”, cracked me up!

Later in the day I was the victim of severe bullying in the workplace(!). I had clearly left last year’s Year 12 Drama written examination in the tray of the photocopier at work and sure enough, one of my colleagues saw an opportunity. So, at lunchtime I was told I’d left an exam paper on the staff couch and that I’d better check inside. As I openend the exam my “colleague” had gone to the trouble of writing his own questions inside the Drama exam paper, with the real exam cover intact. Here’s a few samples:

Question 1. Stand up and pretend to be a tree (15 marks)

Question 2. Draw a picture of a tree. (15 marks)

Question 3. Make the sound of a tree. (15 marks)

Question 4. Describe what it felt like when you acted like a tree. (15 marks)

OK! So, there’s a theme, here! What sort of respect is that? Those who don’t understand Drama teaching are all jealous, I tell ya. They observe from a distance all the enjoyment we are having in the classroom and … SHOCK! … HORROR! … watch our students learn and have fun in education at the same time! Anyway, it was a joke and I will surely pay my esteemed colleague back when he least expects it before the academic year finishes!

But perhaps the best part of my day was when I chatted to a couple of Year 9 girls I had in Drama last term and you gotta love it when a student tells you, aged 15, she has one goal in high school … to get into a university course where she can study to be a Drama teacher. It makes you proud. Little things like this remind us why we teach Drama … to inspire others in the beauty of our subject/discipline.

Oct 062010
 

Can you remember times in your teaching career that, no matter how seemingly insignificant they appeared at the time, were actually defining moments of your profession?

Recently, I was home for several weeks with a bad back complaint (don’t even ask me about the morphine I was prescribed!) and left with little option but to leave a Year 10 Drama class with theory for four lessons in a row. Granted, this was an advanced stream of students doing a Year 11 unit of study, but they were 15/16 year-old students, nevertheless.

You might say I left them in the deep end when you see what they were asked to do in my absence:

In groups of four, research different aspects of Expressionism:

  1. Expressionism as a movement in the visual arts (painting, films etc)
  2. Expressionism as a movement in the theatre
  3. Well-known plays and playwrights of the Expressionist movement
  4. Playwriting, acting and staging techniques common to Expressionist plays

Use a combination of Google, Yahoo Search and Bing, write up all information in your own words. Each group must then teach each of the other three groups their research area, also being taught three other areas from classmates. All information is then written on poster paper, placed on the classroom walls and copied down by everyone for an upcoming theory test.

Students then did the same with Theatre of the Absurd, with the four areas of research on this topic being:

  1. Theatre of the Absurd (theatre movement)
  2. Existentialism and its relationship with the Theatre of the Absurd
  3. Waiting for Godot (play)
  4. Playwriting, acting and staging techniques common to Theatre of the Absurd plays

This of course is utilising the jigsaw technique in learning where in theory (and hopefully in practice, too) students are empowered by teaching each other, along the lines of constructivism.

But wow! When I returned from sick leave thinking I should never have left a group of 16 year olds with such a difficult task as this, I was blown away. Poster after poster detailed in the students’ own words various aspects of two of the most difficult theatre movements to understand from 20th century theatre.

It all came about when I decided to teach part of my course the wrong way around! Frightened with the prospect of even an advanced group of students being put off with loads of theory in the first half of a semester course, I decided to jump into reading and workshopping plays and script excerpts belonging to Realism, Naturalism, Expressionism and Absurdism. So much so, I’m certain some of my students thought every movement in 20th century theatre was an “ism”! (most of them are, aren’t they?)

I trudged through some theory on the important differences between Realism and Naturalism and the origins of these movements in European theatre, all the while forgetting these girls were Year 10s and not a 2nd year university class. They weren’t exactly thrilled with hearing about the likes of Emile Zola and Henrik Ibsen, but carried on, anyway. So (while I was on sick leave) leaving them to learn their own theory on Expressionism and Absurdism in the theatre was in many ways preposterous.

The work this group of 15 girls did on these two movements was akin to or better than I would have expected from a Year 12 Drama class. I literally couldn’t believe my eyes.

From this experience I was pleasantly reminded reminded of the following in Drama/Theatre teaching:

  1. don’t kid yourself, you learn something new every day and you don’t know everything in your subject area
  2. never underestimate the power of a teenager who is engaged in their learning
  3. if you set up the right atmosphere/culture in advance, some of your students’ best work will occur when you’re not even in the classroom to be fully responsible for it
  4. you have to live with No.3, above, and move on…
  5. cherish these moments and don’t forget them, because they remind us of the power and beauty of our profession

For me, this experience was gold. There simply is no other word to describe it.