The words you are searching are inside this book. To get more targeted content, please make full-text search by clicking here.
Discover the best professional documents and content resources in AnyFlip Document Base.
Search
Published by Dr Twitchell Courses, 2017-11-21 11:43:49

Advanced Drama Curriculum Notebook.docx

Advanced 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.
A sense of Direction ...................................................................................................................................... Page 9 Understanding By Design .............................................................................................................................. Page 14
2


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.
Junior National Individual Event Evaluations ........................................................................................ Page 15 Ethics ..................................................................................................................................................... Page 17
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 19 MTSS...................................................................................................................................................... Page 21
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 23 Website ................................................................................................................................................. Page 26
Evidence-based Pedagogical Practices
A list of teaching strategies that are supported by adequate, empirical research as being highly effective.
John Hattie ............................................................................................................................................ Page 27
Glossary
Terms and acronyms used in this document ........................................................................................ Page 28
3


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 (L3.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. Create and implement a major design element for a mainstage production.
3. Develop and synthesize original ideas in a drama/theatre work utilizing critical analysis,
historical and cultural context, research, and Western or non-Western theatre
traditions.
4. Collaborate as a creative team to discover artistic solutions and make interpretive
choices in a devised or scripted drama/theatre work.
5. Apply appropriate acting techniques and styles in performances of characters from a
variety of dramatic genres and historical periods.
6. Synthesize knowledge from a variety of dramatic forms, theatrical conventions, and
technologies to create the visual composition of a drama/theatre work.
7. Refine, transform, and reimagine a devised or scripted drama/theatre work using the
rehearsal process to invent or reimagine style, genre, form, technical design and
conventions.
8. Generate ideas from research and script analysis to devise a performance that is
believable, authentic, and relevant in a drama/theatre work.
Strand: Perform (L3.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 drama works.
1. Develop the character, setting, and essential events in a story or script that make up the
dramatic structure in a drama/theatre work.
2. Collaborate as creative team to discover artistic solutions and make interpretive choices
in a devised or scripted 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. Evaluate artistic choices in the use of technical elements in a production.
8. Explore various kinds of stage spaces, stage directions, areas of the stage, and blocking
techniques.
9. Present a drama/theatre production for a specific audience that employs research and
analysis grounded in the creative perspectives of the playwright, director, designer, and dramaturgy.
4


Strand: Respond (L3.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; demonstrate an
understanding of the protocols of audience behavior appropriate to the style of the
performance.
2. Articulate responses based on personal experiences when participating in or observing a
drama/theatre work.
3. Compare and debate the connection between a drama/ theatre work and contemporary
issues that may affect audiences.
4. Demonstrate the ability to receive and act upon coaching, feedback, and constructive
criticism.
5. Research and synthesize cultural and historical information related to a drama/ theatre
work by to support or evaluate artistic choices.
6. Synthesize evidence and appropriate criteria to revise personal work and interpret the
work of others when participating in or observing a drama/theatre work.
7. Analyze and evaluate why artistic choices are made in a drama/theatre work.
8. Apply appropriate theatre terminology to evaluate the strengths and weaknesses of
own or the group’s work.
Strand: Connect (L3.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. Collaborate on a drama/theatre work that examines a critical global issue using multiple
personal, community, and cultural perspectives.
2. Justify the creative choices made in a devised or scripted drama/theatre work based on
critical interpretation of specific data from theatre research.
3. Examine contemporary social, cultural, or global issues through different forms of
drama/theatre work.
5


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.
• Creating stage pictures
• Blocking
• Creating a design concept
• Identifying a theme
• Working with actors
• Rehearsal process
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.
BYU Theatre Education Library
(Contains a data base for units and lessons)
http://tedb.byu.edu/
7


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).
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.
Advanced Drama A Sense of Direction Day 1
Objective: The students will demonstrate an understanding of Theme and concept by performing a short scene.
Hook: Have the students take out a piece of paper. Instruct them to write on the piece of paper the names of as many directors as they can possibly think of. They can be film, television, or even theater. After they have written down the lists ask the students to share their lists. The idea is that if someone says the same name that someone else says then that name does not count. At the end of the activity have the students total up their scores. The person with the most names wins.
Step 1: Instruction.
-What is the role of a Director? How important is a director? Why do we have them? -The Responsibilities of a director are as follows:
Choosing the show
Casting the show
Creating a concept
Coaching actors
Working with designers to bring about a concept. Running rehearsals
Maintaining the artistic merit of the show.
The director is the artist, the painter, the conductor of the play.
-We will not discuss choosing or casting a show at this point. The next thing on the list is creating a concept. Who knows what a director’s concept is? Example: “Edward Scissorhands” is a small town fable of real life issues told with a childlike innocence.
-In order to create a strong concept one must understand the theme of the play.
-Use the theme sheet. Step 2: Practice.
-Ask for examples of movies or plays and write them on the board.
-Have volunteers come up out of the class and write their theme statement under the title of the movie.
-Discuss the theme statements on the board. Determine if they fit the criteria for a well written theme.
Step 3: Instruction
-Now how do you use a theme to create a concept? In “Edward Scissorhands” The theme is Lost innocence creates loneliness and sadness. Or Diversity engenders conflict. Outside of the script itself, how did Tim Burton express that message? What did he do to teach us the theme? Step 4: Practice
-Divide the class into groups. Assign each group a fairy tale. Tell them to write a theme statement on a piece of paper and give it to me. Them instruct them to decide on how they will express that theme through the performance of the story. Give them time to practice.
-Have each group perform for the class. Afterwards ask the class what message they got from each story. Discuss how this will help them both as a director and as a viewer of media.
9


Advanced Drama A Sense of Direction Day 2
Objective: The Students will demonstrate an understanding of representational and Presentational form by creating a short scene.
Hook: Have the students take out a piece of paper. Have them write their names on the top of the paper. Instruct them to number 1-5 down one side of the paper. Give them the quiz.
List three responsibilities of a director as discussed in class.
Give an example of a director’s concept.
Write a good example of a theme statement. Go over the answers in the class.
Step 1: Instruction.
-Theme is what you want to say. Concept is how you say it. Yesterday when you did your scenes did you trouble with determining how tell your theme outside of the story itself? There are things that will help you as you try to create a concept.
-How would you define form? Use with sheet.
-Representational and presentational sheet. Step 2: Modeling
-Write “Hamlet” on the board. Ask a student to give a summary of the plot. Write a T-bar on the board. Write representational on one side and presentational on the other. Write choices that reflect the representational on one side and presentational on the other. E.g. Rep. Period costumes, realism in acting style, etc...showing the story: Pres. Showing the audience, soliloquies to the audience.
Step 3: Practice.
-Assign groups. Give each group a story. Instruct them to determine a theme, and then
decide if they are going to use a representational or presentational style. Then have them perform the scene for the class. Discuss with the class the difference that they see.
Step 4: assessment.
-Debate. Have the class split down the middle. Assign one group to defend rep. And the other to defend pre. The rules are as follows.
No insults.
You must only defend your side.
Raise your hand and the moderator will call on you. We will alternate from side ot side.
Step 5: Conclusion.
-There is no right or wrong answer to this problem. These are choices you’ll have to make to direct your plays.
10


Advanced Drama A sense of Direction Day 3
Objective: The students will demonstrate an understanding of Positions of power and stage pictures by creating a small scene.
Hook: Call for a volunteer from the class. Have them kneel on the floor. Use the student as a foot rest as you call role and do announcements. Ask the students what is so odd about the relationship. At some point switch positions. Now what is so strange?
Step 1: Discussion.
-What is communicated by these different positions? How can positioning on stage communicate different messages?
Step 2: Instruction.
-The stage is like a painting that moves. The images of the actors and sets on stage should communicate as much if not more than the words spoken. A deaf person should be able to see a play come away knowing what the play was about. Let’s start with positions of power. Up-Right: This is the strongest beginning position on stage. If a person starts here then they will win out in any situation.
Down- left: This is the strongest finishing position. Happy Endings are at this position on the stage.
Center: This position communicates indecision. If a person ends up in this position on stage we are unsure of what will happen to them.
Left to right: We read from left to right so walking from left to right is the path of least resistance. It is the path of success.
Right to left: This is against the grain. This is a path of trials. This is failure.
High to low: This is success.
Low to high: This is failure.
Breaking the rules: Can do one of two things: Surprise your audience for comic effect or confuse the hell out of them.
Step 3: Modeling.
-Have two volunteers come up onto the stage. Place them in opposing parts of the stage. Ask the class who is in the winning position. Do this several times.
Step 4: Practice.
-Put the kids into groups and have them do the snapshot tableaux exercise. Step 5: Assessment.
-Have the students create a short scene using the elements of blocking.
11


Advanced Drama A sense of Direction Day 4
Objective: The Students will demonstrate an understanding of the elements of design by creating a design concept.
Hook: have the students take out a piece of paper. Tell the students to observe me. Ask them to write what sort of feeling they get from the clothes that I am wearing. Next have them look around the room. What sort of a feeling does the room convey?
Step 1: Discussion.
-Have the students get with a partner and discuss the things that they wrote.
-Discuss with the class what sort of things they talked about. Step 2: Instruction.
-Use the design principles sheet to discuss the principles of design from a director’s point of view.
Step 3: Practice.
-Get the students into groups. Give each student some paper and some crayons. Instruct
them to create a visual image of a Shakespeare play on the paper. Remind them to think of Theme, Form, and the concepts that we have talked about today.
-Have each group present their idea to the class.
Step 4: Assessment.
Hand out the assignment sheet. And discuss the aspects of it.
Advanced Drama A sense of Direction Day 5
Objective: The students will demonstrate an understanding of how to coach actors by doing a mock rehearsal.
Hook: Write the word “actors” on the board. Have the students write as many words as come to their mind that describe actors. After they write put them in groups and have them synthesize a list. Then have each group come up and write the words on the board. Discuss the responses.
Step 1: Discussion.
-Why do we have this impression of actors? What is the director’s responsibility toward actors? How can you know how to help an actor achieve greatness.
Step 2:Instruction.
-Talk about how fear is the greatest impediment to creativity. An actor's greatest fear is failure. Praise and positive regard is the response to fear. Ask questions to guide your actor. Answer question with questions. Pick your battles. Never give a line reading.
Step 3: Modeling.
-do the hand in the pocket exercise with the students. Step 4: Instruction.
-Talk about objective, motivation, conflict, and tactics. Step 5: Practice.
-Put the students into groups of three. Assign each group a Shakespeare play. Have each student pick a role and act it in a rehearsal process.
-have the groups perform for the class.
12


Advanced Drama A Sense of Direction Day 6
Objective: The students will demonstrate an understanding of casting and rehearsing by doing a role play.
Hook: Have the students take out a piece of paper. Instruct them that they are to take the members of our class and cast the show “Hamlet” Give them a few minutes. Without showing the list to the class have the students describe what the experience was like having to cast a show.
Step 1: instruction.
-Talk about the casting process. What makes for a good actor? What do prefer: talent or reliability?
-Casting by type and type-casting.
-Talk about rehearsals.
Always start rehearsals on time.
You can only rehearse so well for so long. Be respectful of your actors time and person. Be organized.
Tell your actors of your plans.
Step 3: Give time to work on projects.
13


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
14


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.
15


16


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.
17


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.
18


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.
19


20


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
21


Utah’s Multi-Tiered System of Supports USBE website:
http://www.schools.utah.gov/umtss/UMTSS-Model.aspx
22


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
23


• 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
24


• 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
25


• 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/
26


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
27


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
28


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.
29


Click to View FlipBook Version