Page 86 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

A1. The Creative Process: use the creative process and a variety of sources and forms, both individually and collaboratively, to design and develop drama works;
A2. Elements and Conventions: use the elements and conventions of drama effectively in creating individual and ensemble drama works, including works based on a variety of sources;
A3. Presentation Techniques and Technologies: use a variety of presentation techniques and technological tools to enhance the impact of drama works and communicate for specific audiences and purposes.
A1. The Creative Process
A2. Elements and Conventions
A. CREATING AND PRESENTING 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:
A1.1 develop interpretations of drama texts or other sources from a variety of Western and non-Western traditions as a basis for their own drama presentations (e.g., interpretations of nar- ratives by men, women, and children from diverse backgrounds; scenes from Kabuki or Noh theatre; excerpts from Tennessee Williams’s The Glass Menagerie, Marsha Norman’s ’Night Mother,
or Dennis Foon’s Skin; scenes from plays by men and women playwrights, including Aboriginal, Asian Canadian/American, or African Canadian/American dramatists)
Teacher prompts: “How might you dramatize a narrative like The History of Mary Prince, A West Indian Slave? What other kinds of historical voices could you bring to life through drama?” “What are some of the themes and issues in this text? How could you adapt the source to show its relevance to the world of today?”
A1.2 select and use appropriate drama forms to present a variety of adapted or original drama works (e.g., use a drama anthology to present a famous person’s life story; use a skit with slapstick
humour to comment on a recent media event; use puppetry to adapt a children’s book on a social or environmental theme, such as The Lorax [Seuss] or The Great Kapok Tree [Cherry], for a dramatic presentation)
Teacher prompt: “What form could you use to dramatize an important turning point in a person’s life? Mime? A dramatic monologue? A type of ritual?”
A1.3 create and interpret a range of characters using a variety of acting approaches (e.g., present a scene in the style of melodrama or commedia dell’arte; use the Laban approach to create an original character)
Teacher prompts: “How do inside-out and outside-in acting approaches help you to create a character? Which do you prefer, and why?” “What are some of the strategies a company of actors might explore in rehearsal to draw attention to the dilemma facing a character?”
By the end of this course, students will:
A2.1 highlight selected elements of drama and subordinate others to achieve specific purposes (e.g., use setting and relationship to illuminate character; use time to explore relationship)
Teacher prompt: “How could disrupting chronology to show the end of this relationship before its beginning help create tension through- out the play?”
A2.2 use a variety of drama conventions to estab- lish a distinctive context or role in original or adapted works (e.g., use guided imagery and mapping to visualize settings and relationships; use hot-seating or voices in the head to build a rounded picture of a character)
Teacher prompts: “How might you depict the relationships and atmosphere of Shakespearean characters in a modern setting? What will you do to establish a convincing context?” “What
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