Page 102 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

Grade 12, University/College Preparation
B1. The Critical Analysis Process: use the critical analysis process to reflect on and evaluate their own and others’ drama works;
B2. DramaandSociety:demonstrateanunderstandingofhowsocietiespresentandpastuseorhaveused drama, and of how creating and viewing drama can benefit individuals, groups, and communities;
B3. ConnectionsBeyondtheClassroom:identifyknowledgeandskillstheyhaveacquiredthroughdrama activities, and demonstrate an understanding of ways in which they can apply this learning in personal, social, and career contexts.
B1. The Critical Analysis Process
B2. Drama and Society
B. REFLECTING, RESPONDING, AND ANALYSING
OVERALL EXPECTATIONS
By the end of this course, students will:
THE ONTARIO CURRICULUM, GRADES 11 AND 12 | The Arts
SPECIFIC EXPECTATIONS
By the end of this course, students will:
B1.1 use the critical analysis process to reflect on and justify or revise decisions in creating drama works (e.g., review their journal responses to assess their contributions, strengths, and areas for improvement; monitor the group rehearsal process and modify the group roles and process
as needed)
Teacher prompt: “Describe your group’s creative process. How did your collective vision evolve throughout the rehearsal process? How did the group implement the changes?”
B1.2 analyse a variety of contemporary and his- torical drama works to explain and evaluate how they communicate themes and dramatize issues (e.g., describe the strategies used to explore political and social issues in plays like The Komagata Maru Incident by Sharon Pollock, Les Belles Soeurs by Michel Tremblay, or The Rez Sisters by Tomson Highway, and comment
on their effectiveness)
Teacher prompt: “What are the social, environ- mental, and/or political issues raised in this play? Are the issues openly stated, or implied, or both? Where in the play are the issues presented most clearly?”
B1.3 analyse and evaluate the aesthetic and technical aspects of a variety of drama works and/or theatrical productions (e.g., write a review of a new play, critiquing the dramatist’s vision and execution as well as the production itself; in a large-group discussion, compare their own reactions to a production with the analysis in a newspaper or Internet review)
Teacher prompt: “How does your analysis of this play agree with or differ from the reviewers’ reactions? What evidence supports your judge- ment of the production? If you were giving advice to the dramatist, what changes would you suggest?”
By the end of this course, students will:
B2.1 demonstrate an understanding of how drama questions social and cultural conditions in a variety of Canadian and global drama sources and traditions (e.g., determine the intended message in Dennis Foon’s exploration
of racism in Skin, Rick Salutin’s investigation of political unrest in Upper Canada in 1837: The Farmers’ Revolt, Drew Hayden Taylor’s scrutiny of Native culture in Toronto at Dreamer’s Rock, Trey Anthony’s exploration of cultural identity in ‘Da Kink in My Hair, and various “green movie
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