Beginning Drama Curriculum Notebook Template.docx

Beginning Drama Curriculum Notebook
2017


Curriculum Notebook Table of Contents
Standards
Standards indicate the broad goals for a student to master in a course. Standards are typically set by a state or district school board.
Strand: Create ....................................................................................................................................... Page 4 Strand: Perform..................................................................................................................................... Page 4 Strand: Respond .................................................................................................................................... Page 5 Strand: Connect..................................................................................................................................... Page 5
Essential Learning Standards
Particular standards/objectives/indicators that a school/district defines as critical for student learning. In fact, they are so critical that students will receive intervention if they are not learned. Essentials are chosen because they 1. have endurance, 2. have leverage, and 3. are important for future learning. ....................................................................................................................................................................... Page 6
Curriculum Resources
The materials teachers use to plan, prepare, and deliver instruction, including materials students use to learn about the subject. Such materials include texts, textbooks, tasks, tools, and media. Sometimes organized into a comprehensive program format, they often provide the standards, units, pacing guides, assessments, supplemental resources, interventions, and student materials for a course. ....................................................................................................................................................................... Page 7
Pacing Guide
The order and timeline of the instruction of standards, objectives, indicators, and Essentials over the span of a course (semester or year). ....................................................................................................................................................................... Page 8
Units
A plan for several weeks of instruction, usually based on a theme, that includes individual lesson plans. Units often also include: Standards, learning targets/goals, skills, formative and summative assessment, student materials, essential questions, big ideas, vocabulary, questions, and instructional methods. Viewpoints..................................................................................................................................................... Page 9 Understanding By Design .............................................................................................................................. Page 25
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Assessment Standards
A set of criteria to guide the assessment of student learning in a course that is based on Standards/Essentials of the course; this might include formative assessment practices, summative assessments/practices, common assessment plans, feedback practices, and a schedule for testing.
Group Dumb-play .................................................................................................................................. Page 26 Ethics ..................................................................................................................................................... Page 27
Intervention Standards
A set of criteria to guide teachers to provide additional instruction to students who did not master the content in Tier 1 instruction. This might include: commercial intervention programs, teacher-developed intervention materials, diagnostic testing, RTI/MTSS processes, and a list of essential knowledge/skills that will prompt intervention if the student does not demonstrate mastery.
RTI ......................................................................................................................................................... Page 29 MTSS...................................................................................................................................................... Page 31
Supplemental Resources
Instructional materials, beyond the main curricular materials, used to strategically fill gaps/weaknesses of the core program materials.
Provo Way Instructional Model ............................................................................................................ Page 33 Website ................................................................................................................................................. Page 36
Evidence-based Pedagogical Practices
A list of teaching strategies that are supported by adequate, empirical research as being highly effective.
John Hattie ............................................................................................................................................ Page 37
Glossary
Terms and acronyms used in this document ........................................................................................ Page 38
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Course Standards
Standards indicate the broad goals for a student to master in a course. Standards are typically set by a state or district school board.
Secondary Theater Leve 1 Beginning Drama
Strand: Create (L1.T.CR) Students will conceptualize, generate, develop, and organize artistic ideas and work. They will complete and refine theatre works.
1. Develop imagination to create artistic ideas and work
2. Read and analyze a play for its technical requirements, identifying points in the script that require the addition of a technical element
3. Use correct form and structure to create a scene or play with a beginning, middle, and end that includes full character development, believable dialogue, and logical plot outcomes
4. Investigate the collaborative nature of the actor, director, playwright, and designers and explore their interdependent roles in a drama/theatre work.
5. Explore physical, vocal, and emotional choices to develop a performance that is believable, authentic, and relevant to a drama/theatre work
6. Apply basic research and skills to construct ideas about the visual composition of a drama/theatre work
7. Recognize that participating in the rehearsal process is necessary to refine and revise
Strand: Perform (L1.T.P) Students will analyze, interpret, and select artistic work for performance. They will develop
techniques and concepts to refine artistic work and express meaning through the presentation of theatre works
1. Interpret the character, setting, and essential events in a story or script that make up
the dramatic structure in a drama/theatre work.
2. Investigate the collaborative nature of the actor, director, playwright, and designers,
and explore their interdependent roles in a drama/theatre work.
3. Observe, listen, and respond in character to other actors throughout a scripted or
improvised scene.
4. Use body to communicate meaning through space, shape, energy, and gesture.
5. Use voice to communicate meaning through volume, pitch, tone, rate of speed, and
vocal clarity.
6. Use imagination to inform artistic choices.
7. Understand and apply technical elements to enhance activities and dramatizations.
8. Identify and use appropriate vocabulary to describe kinds of stage spaces, stage
directions, areas of the stage, and blocking techniques.
9. Present a drama/theatre work using creative processes that shape the production for a
specific audience.
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Strand: Respond (L1.T.R)
Students will perceive and analyze artistic work and process. They will interpret intent and meaning and apply criteria to evaluate artistic work and process
1. Attend live performances of extended length and complexity, demonstrating an
understanding of the protocols of audience behavior appropriate to the style of the
performance.
2. Defend responses based on personal experiences when participating in or observing a
drama/theatre work.
3. Formulate a deeper understanding and appreciation of a drama/ theatre work by
considering its specific purpose or intended audience.
4. Demonstrate the ability to receive and act upon coaching, feedback, and constructive
criticism.
5. Examine a drama/ theatre work using supporting evidence and criteria, while
considering art forms, history, culture, and other disciplines.
6. Analyze and compare artistic choices developed from personal experiences in multiple
drama/theatre works.
7. Identify and explain why artistic choices are made in a drama/theatre work.
8. Apply appropriate theatre terminology to describe and analyze the strengths and
weaknesses of own or the group’s work.
Strand: Connect (L1.T.CO) Students will synthesize and relate knowledge from personal and collaborative experiences to make and receive art. They will relate artistic ideas and works with societal, cultural, and historical context to deepen understanding
1. Choose and interpret a drama/theatre work to reflect on or question personal beliefs.
2. Research how other theatre artists apply creative processes to tell stories in a devised or
scripted drama/theatre work, using theatre research methods.
3. Examine contemporary social, cultural, or global issues through different forms of
drama/theatre work.
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Course Essential Learning Standards
Particular standards/objectives/indicators that a school/district defines as critical for student learning. In fact, they are so critical that students will receive intervention if they are not learned. Essentials are chosen because they 1. have endurance, 2. have leverage, and 3. are important for future learning.
• Voice and Diction
• Stand in front of an audience
• Face audience (Orient self on stage)
• Use body in a way that is not distracting
• Use silences
• Memorize your lines
• Audience skills
• Focus and concentration
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Curriculum Resources
The materials teachers use to plan, prepare, and deliver instruction, including materials students use to learn about the subject. Such materials include texts, textbooks, tasks, tools, and media. Sometimes organized into a comprehensive program format, they often provide the standards, units, pacing guides, assessments, supplemental resources, interventions, and student materials for a course.
Provo High School Script Library
Dixon – Hamlet, the Somewhat True Tale of Robin Hood, Romeo and Julient
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Course Pacing Guide
The order and timeline of the instruction of standards, objectives, indicators, and Essentials over the span of a course (semester or year).
1. Focus and Concentration
2. Improvisation
3. Using the body (gestures, special relationships) 4. Voice
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Units
A plan for several weeks of instruction, usually based on a theme, that includes individual lesson plans. Units often also include: Standards, learning targets/goals, skills, formative and summative assessment, student materials, essential questions, big ideas, vocabulary, questions, and instructional methods.
Unit Plan
Objective: The students will demonstrate their ability to negotiate and create Viewpoints by Performing a Dumb Show based on a fairy tale.
Class Level: Beginning
Prior Experience: None
DAY 1: Introduction to Bogart
Objective: The students will demonstrate their ability to access the language of Viewpoints utilize the principle of Soft Focus.
DAY 2: Tempo and Duration
Objective: The students will demonstrate their ability to create using Tempo and Duration by performing a scene.
DAY 3: Spatial Relationship and Topography
Objective: The students will demonstrate their ability to negotiate and create using Spatial Relationship and Topography by writing an analysis of a performance.
DAY 4: Shape
Objective: The students will demonstrate their ability to negotiate and create using Shape by participating in a Zombie Crawl.
DAY 5: Gesture and Architecture
Objective: The students will demonstrate their ability to negotiate and create using Gesture and Architecture by Performing a Scene.
DAY 6: Kinesthetic Response and Repetition
Objective: The students will demonstrate their ability to negotiate with Kinesthetic Response and Repetition by participating in a Flash Attack.
DAY 7: Viewpoints review DAY 8: Work Day
DAY 9: Performance Day
Objective: The students will demonstrate their ability to negotiate and create using Viewpoints by performing a Dumb Show.
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Body Viewpoints
Day 1
Objective: The students will demonstrate their ability to access the language of Viewpoints utilize the principle of Soft Focus.
Hook: Write the following list on the board: Tempo, Duration, Kinesthetic Response, Repetition, Spatial Relationship, Topography, Shape, Gesture, Architecture. Instruct each student to take out a piece of paper. Have them copy the list from the board and write their best guess of the definition of each word. Then have them get into groups of 2-3 students and share their definitions. Have them discuss the various definitions and determine which definitions are best. Then have them send a representative to the board and write their definitions. After all of the groups have posted their list, read each list aloud to the class. Discuss with the class which definitions they think are the most accurate. Write the appropriate definitions for each word
• Tempo: The velocity of a movement (e.g. fast or slow)
• Duration: The length of time it takes to complete a movement
• Kinesthetic response: The non-cognitive reaction to external stimuli
• Repetition: Repeating of a movement, either externally or internally
• Spatial relationship: The distance between individuals
• Topography: the path an individual takes through space
• Shape: the form of the body, either natural or contrived
• Gesture: a specific movement that has a beginning and an end that is used
to send a message.
• Architecture: the way in which the body responds to the environment
Step 1: Essential questions
What do you think of these definitions? Do they help you have a better understanding of what these words mean? How can these words be related to acting? Do you think that they are useful? Why or Why not?
Step 2: Instruction (Underlined words are to be written on the board)
These terms are part of an acting approach developed by Ann Bogart called Viewpoints. Ann worked with the ideas of Japanese director Tadashi Suzuki and collaborated with Tina Landau to create an acting technique that focuses on the use of the Body within the framework of Space and Time. By breaking it down into these basic 8 elements, this approach helps actors to refine their focus, and emphasize what the audience can see, as opposed to the internal life of the actor. How can focusing on the visual help the actor better communicate with the Audience? Another important element of Viewpoints is the use of Ensemble. What is ensemble? (Follow-up questions as necessary.) Ann Bogart wanted actors to work together and be able to play off of each other in the natural way that people do when they are in a group, like a school of fish or a flock of birds. This
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required a heightened sense of awareness of other actors as well as the audience and anything else surrounding them. She offers two terms that help us understand this concept: Hard Focus and Soft Focus. Hard focus is tunnel vision. It is looking at one thing and only that thing. Soft Focus is looking at everything. Does anyone here drive? What would happen if you only focused on one thing while you were driving? Soft Focus is what you do while driving. (NOTE: this is not an endorsement of multitasking while driving.)
STEP 3: Practice
Have all of the students stand. Instruct them to put their right arm out in front of them with the index finger pointing upward. Instruct them to look at their finger and focus hard on it. Then have them look past the finger into space. Ask: Can you still see you finger? (Yes) Tell them to continue looking into space but move their finger to the right. Tell them to follow the finger with their mind but not with their eyes. Then have them move their hand up then to the left, then down always following the finger with their mind. How did using this technique help you be aware of more than just your finger? Now, Ann Bogart insists on using this technique while developing your skills as an ensemble. So during the following exercises I will first instruct you to soft focus. Let’s practice now. Everyone, Soft Focus! Good. Now the great thing about soft focus is that it allows you to more readily use your other 4 senses. So spread your mind out over all five senses. (Touch, Taste, Hear, Smell, See)
STEP 4: Exercises
Have the students get in a large circle and join hands. Tell them that this activity must be done in complete silence. Talking voids the validity of the exercise. Once they are silent, tell them soft focus. Tell them that what they must all do is jump at the same time, lifting their knees as high as they can, and landing as softly as they can. This must be done without any signaling of any kind. Give them a few minutes to get it. As they are starting to get it, tell them that they will now all run to the center of the circle at the same time, same as before without any signaling. Then after a few minutes have them stop and instruct them to rotate the circle either clock-wise or counter-clock-wise without signaling. After a few minutes, have them combine all three, meaning that they have to choose between jumping, rotating, or running to the center at the same time without signaling. What did you have to do to be able to successfully execute this exersize? How did soft focus help or hinder you? Now tell the students to spread out around the room. Tell them soft focus. Tell them to walk naturally around the room. After about 30 second tell them to freeze. Instruct them to turn their heads and look around the room. What do you see? What is negative space? Where is the negative space in this room? Think of the space between people as a doorway. You want to go through that doorway. But you can also choose not to. When I tell
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you to go I want you to make your choices about where you move based on the negative space in the room. Soft Focus. Go. Watch the students. As they start to break out of normalcy and experiment say: Now add in positive space. These are the actual bodies in the room. You can choose to follow someone or turn away from them. Do this in conjunction with the Negative space. Allow a few more minutes. As they continue to walk say: All that you are doing is focusing on the realm of Space. Viewpoints also deal with time. When things happen. As you are choosing how to deal with the positive and negative space also consider when. When will you start to follow? When will you turn? Also, you could stop entirely! Film this last segment.
STEP 5: Assessment
How can this be valuable in the acting world? How can this help you in working as an ensemble? How many of you were also worried about me, as your audience? Have the students watch the video of their work. What does this look like? Do you look like you are working together or as individuals? How can you improve that? STEP 6: Conclusion
We are going to use the techniques we learned today to access the 8 Viewpoints of the body.
Body Viewpoints
Day 2
OBJECTIVE: The students will demonstrate their ability to create using Tempo and Duration by performing a scene.
HOOK: Instruct all of the students to sit in a semi-circle on the floor. Tell them to think of what they had for breakfast. If the students claim to have not eaten breakfast tell them to think of the last meal that they ate. Instruct them to pantomime eating the food emphasizing the importance of accuracy of movement. After a moment, tell them to speed up very gradually until they are moving as fast as they possibly can and still maintain the accuracy of the movement. Then have them slow down gradually until they are moving so slowly that it is almost imperceptible. Then have them speed back up to normal.
STEP 1: Discussion
What was difficult about this exercise? What sis you experience as you moved at the extreme speeds? How did these extreme speeds make you more aware of your body and how you move? How is this related to acting? How does the speed at which we move communicate to the audience?
STEP 3: Instruction
The first Viewpoint of the day is from the realm of time. It is called Tempo. Tempo is the speed at which you move. Ann Bogart taught that tempo is key to communication. Tempo affects almost all of the other Viewpoints. When we
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move at different Tempi we communicate the inner life of the character and the relationships we have. If you are walking down the hall and you see a person walking very fast, what do you assume about them and their situation? What if you see the opposite?
STEP 4: Practice
Instruct the students to spread about the room as they did the day before. Say “Soft Focus”. Tell them to walk around the room just like the day before, e.g. looking at negative and positive space. Tell them now to increase the speed of their walk so that it is the fastest that they can walk without running. Then tell them to walk slowly, so slowly that they are hardly moving. Then back to normal tempo. Now tell them that when they walk past someone taller than them to walk faster and when they walk past someone shorter than them to walk slower. After a minute or two tell them to reverse it. Now back to normal tempo. Instruct the girls to start slow and gradually speed up and once they reach top speed to gradually slow down. Have the boys do the opposite. Tell the students to stop.
Do you think that tempo is only limited to how fast you walk? What are some other tasks that are affected by tempo?
STEP 5: INSTRUCTION
Tempo is used in just about everything that you can do on stage. As an actor you have to consider the general tempo that your character uses. e.g. some people just move slowly. This tempo communicates with the audience certain things about the person. As an actor you must also decide how to use tempo in specific situations. Think about how a character moves when they are sad, or happy, or scared. And as we stated before, it doesn’t just apply to walking. Think about when you were acting out eating. What are some of the isolated movements that you do while eating? (e.g. chewing, swallowing, lifting the fork/spoon to the mouth, sighing) Each of those movements are affected by Tempo of the character and of the mood.
STEP 6: Practice
Have all of the students think of an emotion. Then instruct them that they are going to pantomime another action. This time they will do “brushing teeth”. Tell them to choose a tempo that they feel best communicates that emotion. Have them do it. What did you experience as you did this? Do you feel like it helped to better communicate the emotion? What would cause you to change tempo? How do you know when to make a change?
STEP 7: Instruction
Have the students spread around the room and lie down on the ground. Have them close their eyes. Instruct them to breathe in to the count of 4 and out to the count of 8. Tell them: The length of each breath is important. It creates rhythm. All plays have rhythm. All people have rhythm. You just have to become aware of
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it. The next Viewpoint is related to the length of time that passes as you do anything. It is called Duration. I think that this is one of the most important and also one of the most difficult of the Viewpoints to master, because it deals with when. When you do something is more important that what, why, or even how you do it. This exercise will help you connect with when and how long.
STEP 8: PRACTICE
Play some music on the music playing device of your choice. Tell the students to continue breathing in the same pattern and listen to the music. They can lay on the ground for as long as they want but they should be waiting until they feel motivated to get up and start moving around the room. The tempo is their choice. Also, if they so desire they can lie back down. The point is to focus one when to get up or down how long such movement will last. This should last between 3 and 7 minutes. How did you determine when to get up? What motivated you? What can this communicate to the audience? Now have the students spread out. Tell them “Soft Focus”. Have them begin walking at a normal tempo. Tell them to change tempo every 5 seconds. After a few moments tell them to continue, additionally change direction every 3 second. Wait. Now add wave to someone every 4 seconds. Wait. Add a hop every 6 seconds. Tell them to stop and sit.
How was this exercise different than the prior? How are they both related to duration? How could you use duration in your acting? (EXAMPLE: Two people are arguing. One stands with his/her back to the other looking out the window. The amount of time he/she looks out the window and when s/he decides to turn are issues of duration.)
STEP 9: ASSESSMENT
Divide the students into groups of 2. Tell them that they will play out a scene in which one is the parent and the other is a child. The child is in trouble at school for smoking in the bathroom. Tell them that they will have 3 minutes to prepare and to decide how they will use tempo and duration. THEN have the groups perform for one other group. The other group is to describe how they are using tempo and duration.
STEP 10: CONCLUSION
These Viewpoints of time are extremely useful in communicating to the audience the character and emotion of the performers.
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Body Viewpoints
Day 3
OBJECTIVE: The students will demonstrate their ability to negotiate and create using Spatial Relationship and Topography by writing an analysis of a performance.
MATERIALS: White Butcher paper laid out on the floor and taped down in enough rows to cover most of the floor with no space in between. Fingerpaints or tempra paints (washable), Paint trays, Baby wipes or paper towels.
HOOK: Instruct the students to take off their shoes and socks. Tell them to gather around the large paper on the floor. Ask for a volunteer (who is willing to get their feet painty). pour some paint into the paint tray. Instuct the rest of the class to close their eyes. Have the volunteer step in the paint and then tell him/her to walk in the most creative way they can think of across the paper and wait on the other side. Ask: Looking only at the footprints on the paper what do you think about the person who walked across the paper? Have a few more volunteers do the same thing and ask the same question. Then have any remaining volunteers participate and have all of the volunteers walk at the same time around the paper, repainting their feet as necessary.
The class can watch this time? Ask: How is it different seeing them walk as opposed to only seeing their path? How can the path people take communicate about their character? Their mood? Clean up the paper and the people’s feet. STEP 1: INSTRUCTION
The path through space that a person takes is what Ann Bogart calls Topography. Topography is a Viewpoint of Space. It is a term borrowed from map-making that is related to the lay of the land. Topography can help us understand a character better. In the simplest terms it is a line that you walk in. Straight lines usually communicate purpose. Audiences often associate them with masculinity. Curved lines communicate uncertainty or indirectness. Audiences usually think of femininity when seeing that movement. Jagged, irregular, or zig-zag lines communicate chaos. We associate them with fear, rage, insanity, inebriation, etc. STEP 2: Practice
Have the students spread out. Tell them “Soft Focus”. Instruct them to begin walking around at a normal tempo. As they are walking tell them that if they are a boy to walk in straight lines and girls should walk in curvy lines. Then tell them to switch. Then have them all walk in jagged lines. Say: Topography is 3-dimensional so as you move also think of how you move with your whole body through space. Imagine that you are leaving trails of paint floating around you as you move. Move in circle, or right angles, up and down, side-to-side, whatever. Try to paint the air with your body. Wait. Now, I will call out an emotion and I want you to use the topography to create that mood. Give the students an easy emotion first.
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Then make them more complicated. Be sure to givetime for them to fully explore each mood’s topography. Stop. have the students sit on the floor.
STEP 3: Discussion
How did using topography help you to communicate your emotion? What are some other ways that you could use topography as an actor?
STEP 4: Modeling
Have the kids look around the room. Draw their attention to the negative space. Say: If I look at this room I can read the negative space. The space between people and what that says about how they feel for each other is called Spacial Relationship. (Use some students in the class as an example.) We see this all the time in our everyday lives. And each of us has a personal space, like a bubble that maintain around us. That space changes depending on who we are with. It also varies from culture to culture. For example, many South Americans have a smaller personal space than do people in this country. Our familiarity with this concept makes this is one of the easiest things for an audience to read and therefore becomes one of the simplest ways to communicate with them. It is also important because it does not focus on only you as an individual. Have a pair of students come and stand in front of the class. Have one student stand at one side of the room and the other at the other. Do not have them look at each other. Ask the class: What does the distance between them communicate about their relationship? Now have them stand right next to each other. What do we see now? Now have them stand half of the distance across the room. What about now? Ann Bogart tells us that we should avoid the middle distance. The problem is that middle distances are the most comfortable for us and therefore the most boring. Extremes are far more interesting. Now let’s try it with movement.
Have the two students walk across the room toward the other. Tell them that as they get closer to the other they must still try to get toward the other side while keeping a great distance between them. Then have them do the opposite.
What did you see? Now let’s practice.
STEP 5: PRACTICE
Have the students look around the room and find someone that they know well. Tell them that on the count of three they should get up and move close to that person. Doso. Then tell them to look for someone that they do not know well and do the same. Then tell all the girls to get up and sit next to the boys and tell all the boys to get away from the girls. Then have them do it the other way around. Then tell them to sit next to someone who has darker hair than theirs but get away from those that have lighter hair.
STEP 6: DISCUSSION
What happened as you tried to be close to someone who did not want to be close to you? How could this be used in a scene?
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STEP 7: ASSESSMENT
Have the students sit in their seats. Invite two volunteers. Tell them that they will improvise a silent scene between a couple on a date. The boy moves in straight lines and wants to be close to the girl. The girl moves in curvy lines and wants to be far from the boy. Have them perform. Ask the class: How did their topography and special relationship add to the scene? How did it help us understand better what was going on? How could we change those two Viewpoints? How do you think that would affect the scene? Have the couple do the scene again based on the suggestions. Did it turn out like you expected? How can you use this in the future for yourselves?
Body Viewpoints
Day 4
OBJECTIVE: The students will demonstrate their ability to negotiate and create using Shape by participating in a Zombie Crawl.
MATERIALS: Overhead Projector, Screen or white wall clear of obstruction, basic geometric shapes cut out of paper.
HOOK: Place one of the shapes on the overhead and ask the class which shape it is. Do so with all of the shapes. Invite a volunteer to stand between the projector and the screen. Tell the students to look at the shadow cast on the screen. Have the students describe the shape of the shadow using only geometric shapes. Try to recreate the shape of the shadow using the different pieces of paper. Have a few different tries with different students. How can understanding the shape of our body help us as actors?
STEP 1: INSTRUCTION
The Viewpoint of Shape is also a Viewpoint of space. A lot of what we call body language is contained within shape. Our bodies have a natural shape. We have little control over it. What are some body shapes? How do we judge people based on the shape of their body? While the natural shape of one’s body is difficult to change they can change the temporary shape of their body to reflect mood. Demonstrate some different shapes and have the class decide which mood it reflects. e.g. slouching, curled up in a fetal position, straight with hands on hips, etc.
STEP 2: PRACTICE
The students will do the following activity: HAve the students gather in a circle (Standing). Say: A picture is worth how many words? (A 1000) Using our shapes together in a group can help us to communicate the story of the scene. While you are doing this exercise I want you to focus on Shape, but don’t forget about Spatial relationship. One person will come to the middle of the circle. I will announce the title of the picture. For example, “A love that lasts forever”. And the
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the person will take a shape that they feel conveys that meaning. Then each person will add themselves to the picture until all have participated. I will then Photograph the picture and we will talk about it. Have the students do the activity. Start with something easy like a bank robbery or a day at the beach. Then look at the picture (projected is best) and have the students evaluate the shapes to see it it is communicating what they intended. Then do the exercise a few more times. Next, explain that it is time for a different activity. Say: In this activity you are going to create a shape as groups that are a little more abstract. This will help you explore the capabilities of your body in creating shapes with other people. Everyone begin walking at a normal tempo. Soft Focus. As you are walking you must remain silent. There is to be no talking at any time during this exercise. At any moment i will call out a number. Your job is to get into groups of that number as quickly as possible without talking. Then I will call out a shape e.g. a square and you will make that shape as quickly as possible without talking. I will give a few moments to complete your shape and then I will say break, at which point you will begin walking again. As you do the exercise, start with simple polygons then move through more difficult shapes like animals or machines into abstract shapes like chaos or peace. Try to make the students be creative by using non-obvious combination e.g. 4 people making a triangle. How did this exercise stretch your abilities? How did it help you explore the possibilities of shape?
Say: Shapes are not always static. They can be combined with movement to communicate many things about a character regarding who they are and how they feel. One easy way to think of this is how a person leads their body. Imagine a string is attached to a part of your body and that you are being pulled, gently, by that string.Everyone begin walking at a normal tempo and soft focus. Imagine that a string is attached to your nose and you are being pulled gently by that string. How does that change the shape of your body? Have them continue doing this exercise telling them to attach the string to different parts of their body. Now, another easy way to affect your shape is to think of how you carry your weight. Different people carry their weight in different ways. Everyone imagine that you carry your weigh in your head. How does that effect your shape? Have them continue shifting the weight to various parts of theirbody. Have them experiment with sharing the weight in two separate parts at once e.g. left shoulder and right foot. After that have them combine the leading and the carrying together. (Examples: Weight in head, lead with feet; weight in rear lead with hands; etc.) How could you use this to create a character? How have you seen this used in current entertainment?
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STEP 3: Assessment/PRACTICE,
One of the great examples of the use of this is in zombie movies. There are different types of zombies but the rules of zombie behavior are always consistent within a single film. Write on the board Viewpoints and Zombies under that list the following Tempo, Duration, Topography, Spacial Relationship, Shape. Let’s start with what we have already learned. What is the tempo that zombies use? (Slow and plodding unless they are within arms reach of someone) How does Duration relate to what zombies do? (They are persistent and will continue doing any action for as long as it takes. They also change in a snap.) What about Topography? (They tend to use irregular patterns of movement. Unless, pursuing when they switch to a more direct approach.) We’ve mentioned Spatial Relationship in conjunction with these others, now let’s nail it down. (Zombie pattern of behavior changes suddenly upon close proximity to prey. When
with each other they have no personal space. They behave much like a school of fish.) Now let’s talk shape. Since zombies are dead, the way they carry thei weight and lead their bodies is unlike a normal person. It helps to go to extremes and dividing the body. For example, A zombie might carry their weight in their left ear, right shoulder and left knee and lead with their left hand and right foot, alternatingly. Everyone, give that a try. This is not set in stone. There is a lot of variation here. Now, We are going to play Zombie Tag. THis is like Tag except that the person who is it is a zombie and when he or she tags someone, that person becomes a zombie too. Ultimately all people will be zombies. In order for the game to work well, you must act like a zombie, i.e. follow these rules on the board. Zombies do not walk while texting or talking with friends. This activity works best outside or in a large space, like the auditorium. Be sure to set boundaries on where students are allowed to go. How did using the Viewpoints make it easier to create the Zombies?
Body Viewpoints
Day 5
OBJECTIVE: The students will demonstrate their ability to negotiate and create using Gesture and Architecture by Performing a Scene.
HOOK: Make arrangements beforehand to have a student who knows ASL sign for you as you take role and do announcements for the day.
STEP 1: DISCUSSION
How many of you understood what your classmate was saying? Is there a form of sign language that we all do?
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STEP 2: INSTRUCTION
The next Viewpoint is Gesture. Gesture is unique because occupies both space and time. Gesture according to Bogart is a movement with a distinct beginning and an end that communicates a message. Gestures can use any part of the body and are unique to era and culture. Bogart divides gestures into 2 catagories. Expressive and behavioral. Expressive gestures are words without words. Give a few examples and have the class identify what they mean. (Thumbs up, Okay, Shrug, etc...) These gestures can use any part of the body and are absolutely nesesary in acting. These expressive gestures also communicate emotion.
STEP 3: Practice
Call out a few emotions and have the class do a gesture that is associated with that mood.
STEP 4: Instruction
The next kind of gesture is a Behavioral. These gestures do not have a specific message. Rather they are nervous tics or quirks that add reality to a character. These are the tapping of feet, biting the lip, fluttering the eyes, sniffing, etc. Any great actor uses these to add a layer of realism to their performance.
STEP 5: PRACTICE
The students will play JAY AND SILENT BOB. The game is that each two volunteers are given a scenario which they will improvise. One of them speaks while the other responds only in gesture. It can also be played with them alternating who speaks and who gestures. Or they can both gesture.
OPTIONAL: Late for Work
3 volunteers. One is a boss. One is the late arriver and one is the inside man. The late person waits in the hall while the class comes up with three outrageous excuses (I was Abducted by aliens). The inside man is to give charade-like gestures behind the bosses back to the late employee as the boss is grilling him on being late. He must do this without being caught through all three excuses. If he is caught the game is over. The class can help the late-comer by “ooo”ing when his guesses are close and cheering when he guesses the excuse correctly. How do gestures help us to communicate with the audience? Who are some
characters that have definitive gestures?
STEP 6: INSTRUCTION
Where were the characters in the last activity? How would a change in location have affected how they behaved? How does our environment affect our behavior? The next Viewpoint is in the realm of space. It is called Architecture. When you hear the word architecture, what do you think of? Just like an architect, considers all of the elements of and environment, actors must consider their environment and how their character reacts to said environment. Think of how an argument between you and a sibling might play out differently in a church
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than in your bedroom. What are some things that make up an environment? Think of things that affect your 5 senses. Write their responses on the board. They should include: Smells, sounds, temperature, colors, humidity, openness, etc. STEP 7: Practice
Tell the students to stand. Tell them Soft Focus. Say: I will describe to you an environment. As I describe it to you, act as if you were in that place. Let your body react to the place as if it were real, and communicate that to me. Proceed to describe an environment, start with something extreme like the desert or Antarctica, then move to more subtle environs. Do this several times.
How is this useful to you as an actor? How can you use this Viewpoint to help create the world of the play?
STEP 8: ASSESSMENT
Divide the class into groups of 3 - 5 people. Tell them to prepare a 1 minute silent scene about a problem in the school. The people are not mute. They are just not speaking. They must be clear enough in their portrayal of the Architecture and with Gesture so that the class can Guess where they are and what they are doing. As each group performs have the rest of the class guess.
Body Viewpoints
Day 6
OBJECTIVE: The students will demonstrate their ability to negotiate with Kinesthetic Response and Repetition by participating in a Flash Attack. MATERIALS: 70% Cacao Dark Chocolate, Fresh Garlic, Fresh Xalapeño, An under- ripe persimmon or plantain, Marshmallows
HOOK: On a table in front of the class set up the above mentioned foods. Ask for volunteers. Instruct the class to watch carefully as each student eats each of the items. Have the Jalapeño eater go first. (I recommend having milk or bread on hand to assuage the heat.) After watching the response, ask for someone who would be able to imitate the response seen. Have the class evaluate the accuracy of the performance. Do this with each food. (Warning: Raw garlic can be very difficult to keep down. Have a trash can handy for catching potential puke.)
What was it like as you ate the foods? Did you feel like you body was responding out of your control? As you imitated the eaters, what did you have to do? How difficult was it trying to imitate something that you were not experiencing yourself?
STEP 1: INSTRUCTION
Perhaps the most difficult thing to accomplish in acting is the illusion of the action happening for the first time. That it is occurring naturally without any preconceptions. Earlier in this unit we talked about When, This becomes important again as we talk about Repetition and Kinesthetic response. These two
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Viewpoints become the center of reality for the rest, for they influence how those two are realized. They can be defined simply in the following way: Repetition is the copying of ones actions. Mirroring their body-language or use of the viewpoints to match their emotional state. Kinesthetic response can be thought of then as, instead of responding in kind, responding in a different way. The only way to truly refine these is to practice, practice, practice. Then you can get a sense for how you should respond and when is the right moment.
STEP 2: Practice
Have the students find a partner. And face their partner. Assign the taller of the two to be the mirror and the shorter to be the person looking in the mirror. There is no talking during this exercise. Say: Soft Focus. The person in the mirror should try to follow all of the actions of the person. After a few minutes have them switch. Then have them trade partners a few times. Then have them try the activity except with the mirror doing a different action, as different as can be. How was this difficult? Is there a time when this sort of thing would be useful? Now tell the students to spread out around the room. Tell them to start walking. (in soft focus) As they are walking around the room, have them think of someone else in the room. That person is the one they are to mirror. Once they get close to that person they should start to follow them. Once everyone has found their partner have them stop. These repetitions are not necessarily realistic but help to give you a sense of what it feels like. Now, have the students spread out around the room and continue walking. Have them keep an eye on the person that they are following. Tell them to repeat the tempo of that person, then the shape, and so forth. This repetition that you do is seen commonly in our lives. We match the mood and demeanor of the people that we are with. Now have them as they watch their person do something entirely different than what they are. If they are walking slow, walk fast. As changes happen point them out to the class. What you just experienced is much like Kinesthetic response. This reaction is the lifeblood of good acting. All of the Viewpoints that you have done are used in accordance with these two principles. Think that everything you do is affected by the other people on stage. Every action, every, gesture, tempo, or spacial relationship is either a repetition of or a Kinesthetic Response to what the others around you do. This is really easy to see in spatial relationship.
STEP 3: ASSESSMENT
Have groups of 5-6 students stand in front of the class. Have them all stand equidistant staring straight ahead. Tell them that an assigned person will join the group and stand close to a person. That person will then move either away from all or close to a different person or move closer to the person that moved to
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them. They continue in this pattern until you stop them. What did you see? Did you see any patterns? How did the spontaneity of the moment effect the action? What motivated your decisions to move? How did you choose which way to go?
STEP 4: CONCLUSION
As you are responding or repeating the action, remember that the key is to make that decision look spontaneous. In a real-life acting scenario, your blocking will be chosen perhaps weeks in advance and you have to make that look natural and un- rehearsed in performance. The key is in the timing. When do you move?
Body Viewpoints
DAY 7
OBJECTIVE: The students will demonstrate their understanding of Viewpoints by creating a poster.
Materials: Posterboard or Butcherpaper. Markers, crayons, pencils, pens.
HOOK: Have a contest on who can write the 9 Viewpoints from memory on the board the fastest.
STEP 1: Divide the class into 9 groups. Assign each group one of the 9 Viewpoints. Instruct them to create a poster that they will present to the class. The poster should be visually pleasing and imaginative. It must include the Name of the Viewpoint, a definition, and an illustration of how that Viewpoint is used. Give them sufficient time to finish poster.
STEP 2: Have each group present the poster to the class and then tape it to the wall.
STEP 3: Have a discussion in which the class evaluates the posters for accuracy and creativity.
STEP 4 : Give the final Assignment “Dumb Show”. See Assignment sheets and rubric.
Body Viewpoints
Day 8
OBJECTIVE: The students will demonstrate their ability to Create using Viewpoints by rehearsing their Dumbshow. Have the students rehearse their Dumbshow. Float among the students to support and answer questions.
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Body Viewpoints
Day 9
OBJECTIVE: The students will demonstrate their ability to Evaluate and Create by performing a Dumbshow and writing a reflective.
STEP 1: Have the students perform their scene for the class. Grade them according to the rubric.
STEP 2: Have the students write a 1 page reflective answering the following questions: How did you see the Viewpoints used in the other performances? How did using the Viewpoints help you as you prepared your scene?
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Planning Guide: Jay McTighe, an expert in unit planning and author of Understanding by Design, has written four point to consider when planning units. They are presented below.
UbD Design Standards Stage 1 – To what extent does the design:
1. focus on the “Big ideas” of targeted content? Consider: are . . .
– the targeted understandings enduring, based on transferable, big ideas at the heart of the
discipline and in need of “uncoverage”?
– the targeted understandings framed as specific generalizations?
– the “big ideas” framed by questions that spark meaningful connections, provoke genuine
inquiry and deep thought, and encourage transfer?
– appropriate goals (e.g., content standards, benchmarks, curriculum objectives) identified? – valid and unit-relevant knowledge and skills identified?
Stage 2 – To what extent do the assessments provide:
2. fair, valid, reliable and sufficient measures of the desired results? Consider: are . . .
– students asked to exhibit their understanding through “authentic” performance tasks? – appropriate criterion-based scoring tools used to evaluate student products and
performances?
– a variety of appropriate assessment formats provide additional evidence of learning? Stage 3 – To what extent is the learning plan:
3. effective and engaging? Consider: will students . . .
– know where they’re going (the learning goals), why (reason for learning the content), and
what is required of them (performance requirements and evaluative criteria)?
– be hooked – engaged in digging into the big ideas (e.g., through inquiry, research, problem- solving, experimentation)?
– have adequate opportunities to explore/experience big ideas and receive instruction to equip them for the required performance(s)?
– have sufficient opportunities to rethink, rehearse, revise, and/or refine their work based upon timely feedback?
– have an opportunity to self-evaluate their work, reflect on their learning and set future goals? Consider: the extent to which the learning plan is:
– tailored and flexible to address the interests and learning styles of all students?
– organized and sequenced to maximize engagement and effectiveness?
Overall Design – to what extent is the entire unit:
4. coherent, with the elements of all 3 stages aligned?
Grant Wiggins and Jay McTighe 2005
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Assessment Standards
A set of criteria to guide the assessment of student learning in a course that is based on Standards/Essentials of the course; this might include formative assessment practices, summative assessments/practices, common assessment plans, feedback practices, and a schedule for testing.
Group Dumb-play Assignment
Objective: The students will demonstrate their ability to use Physical Viewpoints by performing a scene.
You will get into a group a 4-5. You will create a Dumb-play. A Dumb-play is a play that is performed without words to music. This is not a dance number, it is acting to music. You will choose the song you will use. It may not have any profanity or vulgarity. You will be graded on your use of Viewpoints in the scene.
Proficient
Acceptable
Emerging
Professionalism 10 pts.
The performance is tight and controlled.
There are moments of laughing or silliness
There is little control.
Tempo/Duration 10 pts.
They use tempo duration to convey different emotions
Tempo/ Duration is the same throughout.
It is difficult to determine if tempo/ Duration is used.
K. Response 10 pts.
The reactions are clear and believable.
The reactions are apparent.
The reactions are unclear.
Repetition 10 pts.
The characters match the emotional quality of others at appropriate times.
The repetition is unclear at times.
There is little evidence of repetition.
Spatial Relationship 10 pts.
The students have a clear sense of personal space and react appropriately.
The personal space varies.
They demonstrate little awareness of person space.
Shape 10 pts.
The students use the shape of their bodies to convey character.
The body shapes are inconsistent.
The students ignore shape.
Gesture 10 pts.
Each student uses at least one specific gesture.
They use gesture but not specifically.
No gestures used.
Topography 10 pts.
They use the floor pattern to communicate how the characters feel.
There is trepidation with the floor pattern.
No Evidence of floor pattern use.
Architecture 10 pts.
The environment is clearly defined and maintained.
The environment is defined but not maintained.
There is no defined environment.
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Ethical Assessment Practices (USBE ethics training)
Licensed Utah Educators should:
• Ensure students are enrolled in appropriate courses and receive appropriate instruction
• Provide instruction to the intended depth and breadth of the course curriculum
• Provide accommodations throughout instruction to eligible students as identified by an
ELL, IEP, or 504 team.
• Use a variety of assessments methods to inform instructional practices
• Introduce students to various test-taking strategies throughout the year
• Provide students with opportunities to engage with available training test to ensure that
they can successfully navigate online testing systems, and to ensure that local
technology configurations can successfully support testing.
• Use formative assessments throughout the year using high-quality, non-secure test
questions aligned to Utah Standards.
Licensed Utah Educators shall ensure that:
• An appropriate environment reflective of an instructional setting is set for testing to limit distractions from surroundings or unnecessary personnel.
• All students who are eligible for testing are tested.
• A student is not discouraged from participating in state assessments, but upon a
parent’s opt-out request (follow LEA procedures), the student is provided with a
meaningful educational activity.
• Tests are administered in-person and testing procedures meet all test administration
requirements.
• Active test proctoring occurs: walking around the room to make sure that each
student has or is logged into the correct test; has appropriate testing materials
available to them; and are progressing at an appropriate pace.
• No person is left alone in a test setting with student tests left on screen or open.
• The importance of the test, test participation, and the good faith efforts of all
students are not undermined.
• All information in the Test Administration Manual (TAM) for each test administered
is reviewed and strictly followed (see 53A-1-608; R277-404).
• Accommodations are provided for eligible students, as identified by an ELL, IEP, or
504 team. These accommodations should be consistent with accommodations
provided during instruction throughout the instructional year.
• Any electronic devices that can be used to access non-test content or to
record/distribute test content or materials shall be inaccessible by students (e.g., cell phones, recording devices, inter-capable devices). Electronic security of tests and student information must not be compromised.
• Test materials are secure before, during and after testing. When not in use, all materials shall be protected, where students, parents cannot gain access.
No one may enter a student’s computer-based test to examine content or alter a student’s response in any way either on the computer or a paper answer document for any reason.
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Unethical Assessment Practices (USBE ethics training)
It is unethical for educators to jeopardize the integrity of an assessment or the validity of student responses.
Unethical practices include:
• Providing students with questions from the test to review before taking the test.
• Changing instruction or reviewing specific concepts because those concepts appear on
the test.
• Rewording or clarifying questions, or using inflection or gestures to help students
answer.
• Allowing students to use unauthorized resources to find answers, including dictionaries,
thesauruses, mathematics tables, online references, etc.
• Displaying materials on walls or other high visibility surfaces that provide answer to
specific test items (e.g., posters, word walls, formula charts, etc.).
• Reclassifying students to alter subgroup reports.
• Allowing parent volunteers to assist with the proctoring of a test their child is taking or
using students to supervise other students taking a test.
• Allowing the public to view secure items or observe testing sessions.
• Reviewing a student’s response and instructing the student to, or suggesting that the
student should, rethink his/her answers.
• Reproducing, or distributing, in whole or in part, secure test content (e.g., taking
pictures, copying, writing, posting in a classroom, posting publically, emailing).
• Explicitly or implicitly encouraging students to not answer questions, or to engage in
dishonest testing behavior.
• Administering tests outside of the prescribed testing window for each assessment.
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Intervention Standards
A set of criteria to guide teachers to provide additional instruction to students who did not master the content in Tier 1 instruction. This might include: commercial intervention programs, teacher-developed intervention materials, diagnostic testing, RTI/MTSS processes, and a list of essential knowledge/skills that will prompt intervention if the student does not demonstrate mastery.
PCSD MTSS/RTI Model
Provo City School District's Academic MTSS (Multi-Tiered Systems of Support) details the system for providing Tier 1, 2, and 3 instruction; interventions; and assessment to help each student receive appropriate support. It is detailed below.
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PCSD MTSS/RTI Model Provo City School District's Academic MTSS (Multi-Tiered Systems of Support) details the system for providing Tier 1, 2, and 3 instruction; interventions; and assessment to help each student receive appropriate support. It is detailed below.
Unpacking the Complexity of MTSS Decision Making
Successful MTSS implementation is a highly complex process that involves the following tasks:
• Gathering accurate and reliable data
• Correctly interpreting and validating data
• Using data to make meaningful instructional changes for students
• Establishing and managing increasingly intensive tiers of support
• Evaluating the process at all tiers to ensure the system is working
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Utah’s Multi-Tiered System of Supports USBE website:
http://www.schools.utah.gov/umtss/UMTSS-Model.aspx
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Supplemental Resources
Instructional materials, beyond the main curricular materials, used to strategically fill gaps/weaknesses of the core program materials.
Instructional materials, beyond the main curricular materials, used to strategically fill gaps/weaknesses of the core program materials.
The Provo Way Instructional Model
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• Student focus
• Educator credibility
• Meeting norms
• Professional Learning Communities (PLC)/Collaboration
• Civility policy
• Appearance and interactions
• Continual Leaning
• Testing ethics
• Research orientation
• Policy adherence
• Culture
• Safety–emotional and physical
• Physical classroom space
• Relationships
• Family connections
• Procedures
• Classroom management
• Student artifacts
• Student focus
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• Formative evaluation
• Summative evaluation
• Feedback:
• Performance of understanding
• Self-reported grades
• Student self-evaluation
• Testing ethics
• Differentiation
• Data analysis
• Response to interventions (RTI)/Multi-tiered system of success (MTSS)
• Lesson design
• Teacher clarity: share LT, share SC, share PoU
• Evidence-based instructional strategies
• Based on data
• Student engagement
• DOK – Depth of Knowledge
• Differentiation
• Student ownership of learning
• Curriculum notebook
• RTI/MTSS
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• State standards
• Curriculum map/pacing guide
• Units
• Objectives
• Curriculum Notebooks
• Course essentials
• Current
• Planning
Professional Associations Websites
https://sites.google.com/a/provo.edu/drama-and-film-studies/
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Evidence-based Pedagogical Practices
A list of teaching strategies that are supported by adequate, empirical research as being highly effective.
Hattie's Visible Learning
John Hattie, creator of Visible Learning, is a leading education researcher who has analyzed meta analyses in order to rank education practices (and factors) from most effective to least effective.
Hattie's list of highest ranking factors can be found at: https://visible-learning.org/hattie-ranking-influences-effect-sizes-learning-achievement/
or
https://visible-learning.org/nvd3/visualize/hattie-ranking-interactive-2009-2011-2015.html
Hattie's original book on the topic can be found at:
https://www.amazon.com/Visible-Learning-Synthesis-Meta-Analyses- Achievement/dp/0415476186
Definitions of Hattie's factors can be found at:
https://www.amazon.com/Visible-Learning-Synthesis-Meta-Analyses- Achievement/dp/0415476186
Learning Targets
Provo City School District employs the use of learning targets, success criteria, formative assessment, and feedback. A basis of study on these topics is the book, Learning Targets, by Connie Moss and Susan Brookhart, can be found at: https://www.amazon.com/Learning-Targets-Helping-Students-Understanding- ebook/dp/B008FOKP5S.
The district has produced four videos that demonstrate elements of learning target instruction and can be found at:
http://provo.edu/teachingandlearning/learning-targets-videos/
Teacher Resource Guide
Provo City School District's Teacher Resource Guide helps teachers meet the Utah Effective Teaching Standards and includes effective teaching practices. It can be found at: http://provo.edu/teachingandlearning/wp-content/uploads/sites/4/2016/01/11182016-TRG- fixed.pdf
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Glossary
Terms and Acronyms used in this document
Assessment Standards
College and Career Readiness
Curriculum Resources
Essential Learning Standards
Evidence-based Pedagogical Practices
Intervention Standards
Learning Target
A set of criteria to guide the assessment of student learning in a course that is based on Standards/Essentials of the course; this might include formative assessment practices, summative assessments/practices, common assessment plans, feedback practices, and a schedule for testing.
The College and Career Readiness (CCR) anchor standards
and grade-specific standards are necessary complements—the former providing broad standards, the latter providing additional specificity—that together define the skills and understandings that all students must demonstrate.
The materials teachers use to plan, prepare, and deliver instruction, including materials students use to learn about the subject. Such materials include texts, textbooks, tasks, tools, and media. Sometimes organized into a comprehensive program format, they often provide the standards, units, pacing guides, assessments, supplemental resources, interventions, and student materials for a course.
These are also known as power standards. They are particular standards/objectives/indicators that a school/district defines as critical for student learning. In fact, they are so critical that students will receive intervention if they are not learned. Essentials are chosen because they: 1. have endurance, 2. have leverage, and 3. are important for future learning.
A list of teaching strategies that are supported by adequate, empirical research as being highly effective.
A set of criteria to guide teachers to provide additional instruction to students who did not master the content in Tier 1 instruction. This might include: commercial intervention programs, teacher- developed intervention materials, diagnostic testing, RTI/MTSS processes, and a list of essential knowledge/skills that will prompt intervention if the student does not demonstrate mastery.
(LT) A Learning Target is a target that is shared and actively used by both the teacher and the students as a classroom learning team. (Moss & Brookhart, 2012).
MTSS
Multi-Tiered Systems of Support is an approach to academic and
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Pacing Guide
Performance of Understanding.
Provo Way Instructional Model
RTI
Success Criteria
Standards
Supplemental Resources
Units
behavioral intervention. It is part of the intervention standards.
The order and timeline of the instruction of standards, objectives, indicators, and Essentials over the span of a course (semester or year).
(PoU). Student results that provide compelling evidence that the student has acquired the learning target. (Brookhart, 2012).
The five areas of expectations for successful instruction identified by Provo City School District.
Response to Intervention is an approach to academic and behavioral intervention. It is part of the Intervention standards.
Detailed explanation requirements for different levels of quality. They are also referred to as “student-fors” to be used during the formative learning cycle in the day’s lesson (Moss & Brookhart, 2012).
Standards indicate the broad goals for a student to master in a course. Standards are typically set by a state or district school board.
Instructional materials, beyond the main curricular materials, used to strategically fill gaps/weaknesses of the core program materials.
A plan for several weeks of instruction, usually based on a theme, that includes individual lesson plans. Units often also include: Standards, learning targets/goals, skills, formative and summative assessment, student materials, essential questions, big ideas, vocabulary, questions, and instructional methods.
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