Page 89 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

illusion over message; assess the influence of groups such as Dreamrider Theatre and Ubom! Eastern Cape Drama Company in raising awareness of environmental issues)
Teacher prompts: “In what ways is this specific style of theatre a reaction to styles of theatre that preceded it?” “What does a play like Ibsen’s A Doll’s House say about the role of women in nineteenth-century Europe? How might people have reacted to the play when it was first presented? What impact does it have today?” “How did this drama affect your understanding of racism? What are some other dramas that deal with this issue? How did they affect audiences when they were first performed?”
B2.2 identify ways in which drama can influence personal growth, relationships with others, and aesthetic judgement (e.g., issue-based and whole- group drama activities can help develop empathy, self-knowledge, and social and environmental awareness; participation in the creative process can develop skills in applying aesthetic criteria
to improve or evaluate a final product)
Teacher prompts: “What was your view of this issue before the drama took place? Has your view changed or altered based on what you experienced during the improvisation? Why or why not?” “What did you learn about the importance of pacing from the feedback pro- vided in your theatre workshop?”
B2.3 identify ways in which drama can influence the broader community (e.g., by giving expres- sion to previously unheard voices; by highlighting systemic or emerging social problems)
Teacher prompt: “What social or environmental issue might you use as the basis for an anthology for a school assembly? What would be your goal in presenting this issue?”
B2.4 explain how different types of theatre mirror cultural diversity and local or regional con- cerns in Canadian and global societies from the past and present (e.g., explain the link between the use of joual in Quebec theatre in the 1970s and the political unrest in the province at that time; after viewing a production or video of Theatre Passe Muraille’s Farm Show, explain
the reasons for its documentary-style portrayal of people from a small rural community; explain how types or styles of theatre represented by
Noh theatre, Famous People Players, Cirque de Soleil, Green Thumb theatre, or De-Ba-Jeh-Mu-Jig theatre reflect aspects of the communities that produced them)
Teacher prompt: “What topics or issues are addressed in this drama work? Can you see a connection between the style of this work and social or political conditions in its time and place of origin?”
B3. Connections Beyond the Classroom
By the end of this course, students will:
B3.1 identify the collaborative skills and tech- niques they used to produce ensemble drama works, and explain how they can be applied in a variety of other contexts (e.g., explain the con- nection between carrying out an assigned role in staging a drama and contributing to a school com- mittee or “playing their position” in a team sport)
Teacher prompt: “How could you use the teamwork skills learned in drama in other areas of our school? In the community? In the workplace?”
B3.2 analyse their use of the creative process in drama activities, and explain what they learned from it and how that learning can be applied in work and other social contexts (e.g., how creative thinking might help them solve problems in other school subjects, based on their experience in drama work)
Teacher prompt: “What are the benefits of being able to look at a situation from several different perspectives?”
B3.3 relate the various functions they have per- formed in drama activities to educational and career opportunities in the broader educational and arts sectors (e.g., describe, in a portfolio,
how the skills acquired through involvement in community theatre can be applied elsewhere in the arts; identify postsecondary careers and university and college programs in the field of drama and theatre where they could apply their drama experience and skills)
Teacher prompt: “What roles are open to volunteers in community theatre? How might volunteer work with a community theatre group contribute to your learning in drama?”
REFLECTING, RESPONDING, AND ANALYSING
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Drama
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