Page 95 - The Ontario Curriculum, Grades 11 and 12: The Arts, 2010

B. REFLECTING, RESPONDING, AND ANALYSING
OVERALL EXPECTATIONS
By the end of this course, students will:
B1. The Critical Analysis Process: use the critical analysis process to reflect on and evaluate their own and others’ drama works and activities;
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.
SPECIFIC EXPECTATIONS
B1. The Critical Analysis Process
By the end of this course, students will:
B1.1 use the critical analysis process before and during drama projects to assign roles appropri- ately within the group and to monitor the group process (e.g., use journal writing, large-group discussions, one-to-one feedback, think-pair-share, and student-developed criteria to record activities and provide feedback to all group members)
Teacher prompts: “Why is it useful to maintain a rehearsal log, planning journal, or production schedule when working on a project?” “What is the value of monitoring attendance, promptness, focus, and preparation in the rehearsal process?”
B1.2 analyse drama works to determine how well they achieve their intended purpose (e.g., express opinions in follow-up discussions about the com- municative effectiveness of their own and others’ drama works and performances)
Teacher prompts: “In your opinion, what is the essential conflict between these characters? Do you think the author intended us to see it that way? What evidence can you find for your interpretation?” “In what way did the staging support or enhance the play’s message?”
B1.3 identify aesthetic and technical aspects of
a variety of drama works, either completed or in progress, suggest reasons for their use, and
assess their effectiveness (e.g., in a large-group discussion, debate different options for lighting; write a review of a performance that includes an evaluation of the positioning and movement of the actors)
Teacher prompts: “Did the lighting enhance the impact of the scene?” “How could the blocking be changed to focus more attention on the eavesdropper’s reactions?”
B2. Drama and Society
By the end of this course, students will:
B2.1 identify different purposes for drama and the forms used to achieve these purposes in diverse communities and cultures from the past and present (e.g., to provide entertainment and escape – musical comedy; to comment on social absurdity or hypocrisy – comedy of manners; to draw attention to problems or promote attitudinal change – issue-based drama; to explore aspects of social status or class – commedia dell’arte)
Teacher prompts: “What are some examples of contemporary issue-based drama (e.g., The Laramie Project; productions of Dreamrider Theatre or Ubom! Eastern Cape Drama Company)?” “What social purpose does issue- based theatre serve?” “How does studying the time period of a drama work help you under- stand its purpose?” “How does commedia dell’arte reflect its time period?”
REFLECTING, RESPONDING, AND ANALYSING
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Drama
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