Category: Teaching Philosophy

Censorship, 1st Amendment, and Copyright In School Theatre

There is an interesting clash between giving free speech to every student and limiting that speech within the public and private school sectors. As an arts teacher, I am continually thankful that the First Amendment protects the right to free expression, however, this rights is not absolute and may be limited. Schools are one of the most potent examples of where First Amendment limitations can be found because there is a compelling interest in maintaining an appropriate educational environment. Teaching theatre, I continually keep this in mind when I select a production – due to copyright laws we can’t alter the content, so we need to fully accept it as it is.

There is an interesting clash between giving free speech to every student and limiting that speech within the public and private school sectors. As an arts teacher, I am continually thankful that the First Amendment protects the right to free expression, however, this rights is not absolute and may be limited. Schools are one of the most potent examples of where First Amendment limitations can be found because there is a compelling interest in maintaining an appropriate educational environment. Teaching theatre, I continually keep this in mind when I select a production – due to copyright laws we can’t alter the content, so we need to fully accept it as it is.

The Supreme Court has established that schools have the authority to regulate student speech in order to maintain an appropriate educational environment. In Tinker v. Des Moines (1969), the court established the “Tinker standard,” which states that schools may only regulate student speech if it will substantially disrupt the educational process or invade the rights of others. Where do disruptions to occur? The content of a play can be disruptive or inappropriate for all viewers. Many early theatre makers or non-theatre-school-administrators, can be tempted to alter the text of a play (e.g. switching out a swear word or changing any words to effect a character interpretation).

The Tinker standard was increasingly defined in Morse v. Frederick (2007), the court held that schools may prohibit student speech that promotes illegal drug use, even if it is not disruptive. This expanded the power of schools to regulate speech. The cascading impact of this is that the content of what a school chooses to present in their arts programs. This could be a concern in the arts because the arts are founded on free speech; their power rests in the ability to take on a wide range of topics and create conversation within the community. Arts can change the world but they need the forum to do so. Though, one could argue that the voices on topics not ready for school can wait for a venue outside of graduation – these are also the voices of the future and the students that I work with are talented, trustworthy, insightful, and thoughtful. It’s an interesting line to respect and work with as an arts administrator.

By contrast, private schools are not bound by the First Amendment, as they are not government institutions. However, many private schools have policies in place that protect the free expression rights of their students, and these policies may be enforceable under state law.

Venues outside of graduation are not the only avenue for student expression. In Mahanoy v. B.L. (2018), the court held that a school cannot punish a student’s off-campus speech, even if it is disruptive to the educational process, unless the school can demonstrate that it has a reasonable expectation of the speech reaching the school environment. Students could use their free expression, within the arts, outside of the school gates.

Poetry Assessment Objectives IGCSE

Upon reflecting on effective teaching practices, here are four activities that engage students in the four AOs for IGCSE Literature.

FOR AO4: Display of Questions

I believe these questions are good starters for the students to identify their perspective on a text. There are two possible deployment tactics I would first take. OUT OF CLASS TACTIC: Primarily, given that my students are fairly high level, I would give these questions as an out-of-class assignment. Students would be instructed to read the text and then write for 10 minutes in response to the questions. The students would then come to class with these questions answered and ready to discuss them with small or large groups. IN CLASS TACTIC: On the opposite end of ability, my second deployment method, would be to provide sentence frames, helping my one low student respond to the questions. For example, in the question, ‘what words do you find most vivid?’ I would provide a frame for the response, ‘I find the word____________ most vivid because it reminds me of _______.’ Or, ‘List five words that you find to be important for the poem’ followed by a numbered list with blanks to fill in.

FOR AO2: Deeper Meanings

USE OF BLOOM’S TAXONOMY: The suggested activity asks pupils to ‘ask probing questions’. But, it lacks specificity. To support this activity, I would use Bloom’s Taxonomy. We would first identify factual elements of the poem. E.g. there are four quatrains and an A-B-A-B rhyme scheme. I would move to analysis questions. For example ‘what is the narrative content of the first quatrain, the second, third and fourth?’. Moving from identification and analysis, I would then ask them to make connections between the facts of the poem and the identified elements. I would use questions such as, ‘what is the importance…’, ‘what is the significance….’, ‘tell me why…’ and ‘tell me how…’. By identifying the elements that need to be connected, I can guide the pupils to make those connections. Students may respond orally or in writing. They may do the work individually or in groups. It could even be done as a presentation or interview (imagine students ‘pretending’ to be an expert on the poem and then answering the interview questions I identified earlier).

FOR AO3: Connecting to the text

PERFORMANCE AND DIRECTION: This activity suggests partners work together to identify elements such as enjambment, rhyme, and meter. I have used excellent speaking aloud work to do this. One student acts as a director and the other the performer. The performer stops when the director tells them to stop (e.g. at the end of the line), tells them to walk and helps them identify how fast to walk – in identification of the meter, and provides a gesture or movement to be symbolic of the rhyming elements (this works too with alliteration and assonance). The students trade positions and use a new or the same text. If using the same text, the students try to make new choices or pick a different element of focus.

GRAPHIC REPRESENTATION: The second part of the activity suggests that pupils comment on and identify devices – such as imagery, sound, and rhetorical devices. This too can work with a performative activity, as suggested above, or it can be effective graphically. Using class posters that include common elements such as: 1) The device, 2) a modern-language definition of the device, 3) examples from poems (and citations of which poem). Then groups can present on one element and identify all the devices. This can also be an effective tool to review and revise before a mock exam.

FOR AO1: Extension activity, peer-review

This activity suggests that students can essentially annotate the work of a peer and identify required or beneficial elements in a practice response. I would add to this with a reflective piece before the activity. REFLECTIVE PEER-REVIEW: For this activity I would start with the class by giving them the rubric with each band. I  would ask them to identify possible examples of what they may see in an essay, meeting each band. They may identify signpost language (e.g. key words such as ‘one key quote is…’), they may identify structure such as (PEEL), they may identify countable elements (such as one quote for each section of the poem). We would then create a shared annotation key (building from the one identified in the SOW). Students would peer-review, annotate, then talk back to their peer on their perspective of the work.

Reflection on PRESENTING in CLASS

I think presentation is essential. Therefore, I ask that my students do it frequently and the stress is lessened. All students are also rewarded with a single clap of respect from the entire class after every presentation, 1, 2, 3, *clap*. It’s just part of my expectations. However, I have provided accommodations for students gripped with fear. Accommodations have included, presentation in a seated position instead of standing in front of the class, written work read by another student on behalf of the shy student, small group instead of full class presentations, recorded at home and sent in presentations, and fully excused presentations as part of an identifiable medical disability. Any clearly seen accommodations like this are often accompanied with a class discussion about different abilities with fear and presenting – as well as why learning to talk in front of the group is important.

Assessment of Literature Ability

This one lesson activity is conceived of as being an INITIAL ASSESSMENT to analyze student ability at the start of an IGCSE literature course. It easily could be adapted to other subjects and grades in the upper school. 

OBJECTIVE: To identify literary elements within a text for further analysis

BELL RINGER: 1 minute: Name as many literary elements as possible (such as metaphor or simile)

PARTNER WORK: 10 minutes: – share your list with your partner. Define any common elements together. Define any unique elements on your own. Use your combined experience to craft a shared definition. Use a dictionary as needed.

(Informal teacher assessment here – observing the wealth of and accuracy of knowledge within the class)

GROUP ACTIVITY: 15 minutes: Share one element and the definition, aloud with the class (practice presentation of information). Individual students note any elements they did not have on their list, note definitions. Students should be left with a list of literary elements.

INDIVIDUAL ACTIVITY: Formative assessment. 20 minutes:  Students are given one of four or five (depending on group size) short texts (a paragraph, a poem, for example – ideally from the syllabus for future scaffolding). Students, annotate their unique text in the following way. The teacher should provide a live demonstration of this – or at least an exemplar of annotation.

– Highlight any literary element

– Annotate a description of the element

– Make any connections, in writing to the text as a whole or to other literary elements

FORMATIVE ASSESSMENT: Students turn in work from the class. Count literary elements with correct definitions. Note current knowledge of students.

NEXT CLASS: SMALL GROUP WORK: Pass back formative assessments: Students connect in groups (based on text) and make note of their work and compare to others. They review their understanding in contrast to others. Students create one large annotated (collaborative poster) on their text. Students present their work to the class. Students can then craft an essay in response to their text. Use a past paper question to guide the in-class text. This becomes a second formative assessment looking for essay structure and response style.

  1. THE ASSESSMENT WILL HELP present the learners’ level of understanding with factual information (identification of literary elements in a text) and the application of that understanding (composing an essay).
  2. WITH THIS INFORMATION instructional decisions will be made to teach (or not) the identification of literary elements, textual annotation, essay composition.
  3. LEARNERS WITHOUT THE ABILITY will be identified from the first ten minutes of class. They could get, elements highlighted but not identified (or the reverse “look for a comparison”). Learners may need ESL accommodations (such as mother tongue translation). Learners may need to be referred to a learning support team. This two day assessment will identify a range of skills that can be scaffolded. It will also provide support to the student through the collaborative elements.

Command Words – Lesson Plan

LESSON ONE: COMMAND WORDS

LEARNING TARGET: To understand different levels of presenting information (fact,analysis, and synthesis) and apply them to command words in test questions.

Bell Ringer/pre-assessment: Students respond in writing to question for one minute, then share out ideas: 

What is the difference between the presentation of facts, the development of analysis, and a synthesis of ideas?

(Gather learner friendly responses)

Practice one: Students Take ten minutes to answer the following questions, writing independently

Explore the ways… with three examples that the story of “The Three Pigs” tells the reader about theme of hard work.

How… does “The Three Pigs” tell the reader about the theme of hard work through the plot?

How far does… the story tell the reader that hard work is important? Cite evidence from the plot that is in favor and against.

In what ways… using three examples does “The Three Pigs” support the main idea of hard work through character development?

To what extent… do you agree that “The Three Pigs” is about the theme of hard work? Provide three pieces of evidence from the text that support one or both sides of your position.  

Supporting Activity- Small Groups: Student compare their responses with each other in a small group setting.  

Questions for conversation: What was different about your responses?

What was similar about your responses?

What was different about the questions?

What was similar about the questions?

Extension Activity- Individual / Full Group: Students respond to the following question, first in a “five-minute” quick write and then share their responses in a class conversation. 

If the question was not about hard work or “The Three Pigs” and instead about a different theme or story, what would be different or the same about your response? How do the command words (how, how far, In what ways, To what extent, Explore the ways) connect to the way you respond? Which questions are asking for facts? Which questions are asking for analysis? Which questions are asking for synthesis?

Extension Practice, Formative Assessment: 

Write five questions using the same command words for a book that you have already read.

Lesson Plan – NBCT Style

After many years of teaching and four years of hard work, I became an NBCT this year. Upon reflecting – my lesson plan is really key to effective planning.

In my experience the most important sections of a lesson plan are as follows: 
– The standard(s) addressed by the lesson

– The language function or command word within the learning objective (e.g. analyze or identify)

– The syntax within the class provided for the student to complete the work (e.g. class notes, annotation of text, Venn Diagram)

– A logical sequence of events such as: 1) Introduction/Get Thinking/Bell Ringer quick activity 2) Instruction of content through lecture, group work, or individual work (this may connect to homework). 3) Extension and practice from the instruction. This may be solo or within a small group. 4) Demonstration and sharing of learning – students share out with class, teacher assesses and questions for development of work.

I rarely use my lesson plan in the actual class. I often review the plan in advance of the class, first thing for the day. I always start with the lesson objective following or as part of the introduction activity. When I am unable to get to the formative or summative component due to time constraints, I will either add this to the homework for the night or push out the plan for an extension into the next class.

Think – Pair – Share

An interesting and often useful strategy for teachers. 1) Students take time to think about their personal response to a question (I have found this works best with critical thinking); 2) Students share with another student – they share their response and their thinking process – they have an opportunity to refine and check their understanding; 3) Students or pairings share with the group their responses.

In my experience, TPS is enhanced when the pairing is not just with a random person. There are productive pairings within the Zone of Proximal Development. Two intermediate learners in the same group can support the information and understanding that they each bring to the conversation. A high level student and a low level student does not result in mutual learning – because the high level student draws little to no benefit from the low level student. The low level student will either frustrate the high level student with their lack of knowledge or the high level student will spend their time teaching the low level student and receive no parallel exchange of information. One critique of this is that it keeps low level students with low level students. However, the sharing is an essential part of the learning strategy. Here, students are exposed to the range of ideas. If the teacher solicits responses from a range of ability levels, all students get heard and the exchange of ideas is  supported across levels while allowing small pairings to support each other at the same point in development.

How to Evaluate Memorization

Memorization is a key skill in theatre and in life – but some kids need more or less support. Sometimes it even depends on their ability level. In my experience one point for each word becomes tricky – different students have different word counts and different memorization challenges in a particular script. Instead, I look at levels of memorization. It helps me direct student support for follow up.

Here is a general rubric that I like to use:

“Top Marks” – 10 points for being  Word Perfect

“Job Done” – 7-9 points for being basically word perfect. Maybe some transposition of words or dropped words. Perhaps a missed sentence (depending on length).

“Support Needed” 4 – 6 points, student missed more than a sentence, called for line or looked at script (1 – 3 times).

“Significant Revision Required” –  1-3 points for being unable to complete memorization or in need of more than three prompts.

I’ll assign a Student AD or SM to make notes on any missing or incorrect words by highlighting a revision script for the actors or by making line notes specifically for each actor.

Additionally, it is important to:

  • Give students memorization tools before giving them a memorization assignment (or make sure they have experience with memorization).
    • Tools include: writing and re-writing the lines by hand (speaking aloud while re-writing can also be helpful)
    • Writing cue lines on one side of an index card and the full line on the other side. Students can study like flash cards. Again, speaking aloud is preferred.
    • Memorizing line by line or sentence by sentence in what I call the A, AB, BC, CD, method so that what has been memorized gets linked to what will be memorized and the text is evenly memorized throughout.
    • Physical cues within text. Students can connect physical action such as blocking or character gesture to pieces of text. These gestures are fully implemented as part of performance whenever possible.
    • Sound cues in text. It helps students to use auditory clues such as alliteration, onomatopoeia, rhyming, and rhythm to memorize a text. Sometimes it takes a study of these poetic elements to cue into the memorization.
    • Memorization to a song.  Use an established song melody and fit the spoken words to that song. Play the song again and again.
  • Give students ample time to memorize their texts and scaffold the memorization so that it is not all due at one time. I often tie memorization deadlines to the rehearsal following completion of blocking for a scene. (Alternating in sets of four for rehearsal: 1) Table read and discussion of scene; 2) Blocking of scene, on book; 3) run of scene memorized blocking and lines; 4) working of the scene, “stop, work, fix, go”.

 

 

 

Lesson idea – intro to musical theatre.

What should an interviewing teacher do to show off great teaching for an upper school drama class? My response is as follows: pick one lesson that shows your technical strength as a theatre artist. Perhaps musical theatre. Keep it simple.

1) pre-view and pre-assess (eg. Sing a song about what you are feeling) discuss with the class what they saw. Deploy relevant academic language (Eg. Ballad. Sonnet. Rap.)

2) prep and practice (eg. Give kids an open prompt to sing their feelings/thoughts. They can use an existing song for lyrics or make one up.) let them pair share in rehearsal. Circulate and work one-on-one or in small groups. Give them a simple rubric to follow and peer evaluate. (Eg. Song had emotional content. Enunciation was clear. Voice message was projected.)

3) kids up on stage one by one share 10 seconds of their song. Quick feedback in Oreo style – good performance element – challenge or growth element was – compliment performance. Fill rubric out for student. This should be the third evaluation on the rubric. They did one for themselves. They had a peer do one too.

4) Reflection. On the back of their rubric, students write out one strength of their work and one thing they want to do differently next time. Rubric with reflection becomes exit ticket. Before dismissal establish exit routine. (Eg. Fist bump, bow to rest of class, clap of respect etc.) collect reflections. Be ready to discuss each student’s work with the hiring team.

AUTOMATED or AUTHENTIC ACTING

Does acting in acting class need to be authentic to the student?  I recently came across this question in a professional forum.

Certainly authenticity is good – especially in theatre. It is a creative process; the product is best when it is personal to the actor. However – I contend that this may only be the desired end product.

A novice actor needs skills to build from – guidance even clear direction to develop with. Ready, set, create… GO! Open ended creation can be difficult. Giving a student a framework, blocking, gesture, vocal placement, clear direction is not only good teaching, it is a real-world occurrence. In doing so, the teacher is supporting the skill level of the student and scaffolding from that point forward. Yes in theatre education, there should equally be as many opportunities to collaborate, devise, and create in an open-ended forum. These are key skills that theatre can main-line to the student; these later skills, require a prerequisite of experience to build from.

Consider instruction in English Language Arts. In middle school and high school, writing instruction is often prescribed. A teacher may say, “use these sign post words” or “use a first person voice”; they may further say submit your paper in 12 pt font and MLA format. And in the execution of that prescription, the student learns the structure, the form,  the style required and then can learn to write in that mode authentically. But, their first prescribed may not be authentic to the student.

I contend that the instruction of an acting student does not need to be much different. I am curious to see what other teachers of theatre may think on this point.

This approach of prescribed movements and highly directed or choreographed work could also be described as an “outside-in” style of acting. Physically based styles are widely used around the world. Included in this would be the Lazzo of the Fly from Commedia and the stylized movement and voice of Kabuki. Here are some examples.

You can see in the Lazzo, the movements are very planned, even choreographed in response to the music.

Here you can see an example of a planned combat scene in Kabuki. It has been done in this exact prescribed style for the past 400 years.