Page 226 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

THE ONTARIO CURRICULUM, GRADES 11 AND 12 | The Arts
chorus. A convention in which individuals or groups provide spoken explanation or com- mentary on the main action of a drama.
collective creation. A collaborative method of playwriting that involves developing a play as a group, with or without the aid of a playwright.
commedia dell’arte. A style of improvisational comedy popular in sixteenth-century to eighteenth-century Italy, involving stock situa- tions and characters and the use of masks.
conventions of drama. Practices and forms of representation that are widely accepted for use in drama instruction as ways to help students explore meaning and deepen understanding. Hot seating, voices in the head, and freeze- frame images are a few examples, among many.
corridor of voices. A convention used to explore the inner life of a character in drama. The character moves along the “corridor” between two lines of students who voice feelings, thoughts, or moral concerns the character might be likely to have. The convention can also be used to explore the thoughts of a character who is facing a difficult task or decision. In this case, the voices would give advice and warnings.
See also voices in the head.
cue sheet. (1) A record of words, phrases, or stage actions that signal to a performer to begin a speech or action. (2) A list of technical effects (e.g., lights, sound, special effects) and when they occur in a performance or production.
dialogue. A conversation involving two or more characters.
director. The person who supervises the actors and directs the action and production of a show.
drama anthology. A drama based on a collec-
tion of related sources about a particular theme, issue, or person. Both fiction and non-fiction sources may be used (e.g., diary entries, songs, poems, speeches, images, headlines).
drama works. In an educational setting, drama works that are experienced, created, and viewed by students (e.g., plays, improvised drama, short scenes, tableaux, shared drama experiences, reader’s theatre scripts).
dramatic exploration. The spontaneous, imaginative use by students of materials and equipment available in the classroom to create drama.
elements of drama. Fundamental components of drama, including the following:
– character/role. An actor’s portrayal of a char- acter in a drama, developed with attention to background, motivation, speech, and physical traits.
– focus or emphasis. The theme, character, problem, event, moment in time, or centre of visual interest (e.g., in a tableau or staging) that gives purpose or impetus to a drama.
– place and time. The setting, time period (e.g., past, present, future), duration (e.g., one day), and chronology of the action of a story or drama.
– relationship(s). The connection(s) between people, events, and/or circumstances.
– tension. A heightened mental or emotional state resulting from uncertainty about how the conflict or problem in a drama will be resolved.
Elizabethan theatre. Theatre associated with the reign of Queen Elizabeth I of England (1558–1603), and particularly with the plays of William Shakespeare. Other dramatists of the period include Thomas Dekker, Thomas Heywood, Ben Jonson, Thomas Kyd, and Christopher Marlowe.
empathy/empathize. The capacity to “step into the shoes” of another and to understand and appreciate that person’s experiences and cir- cumstances. In drama, empathy is developed through role play, reflection, writing in role, and viewing and discussing plays, stories, and films. The ability to empathize with characters in drama is a fundamental aspect of building role/character and is essential to skill development.
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