Selection of Monologues: Shakespearean and Contemporary Canadian

This week you have been tasked with selecting two monologues:  one Shakespearean and one from a contemporary Canadian play.

Your first challenge is to 'rewrite' the Shakespearean monologue into the language you yourself would use in the same situation/context.  Consider who you are, where you are, to whom you are speaking and your purpose in speaking.

Make sure you can answer the questions on the handout you were given.

There are some youtube sites that have recordings of Shakespearean monologues.  These are likely done by good readers who are pronouncing the words correctly and clearly for the recordings that teachers used to use as students read along.  They are not necessarily well-acted!  I encourage you to seek these and/or other sites out as you research your character.

Genre: Musical Theatre

 

The Mikado - Gilbert & Sullivan, 1885 

Information on the Stratford Festival production of The Mikado, directed by Norman Campbell, 1984.  We will watch portions of this in class.  Pay particular attention to the staging of this musical and the use of simple set and props.

West Side Story - Concept/Choreography by Jerome Robbins; Music by Leonard Bernstein; Lyrics by Stephen Sondheim, 1957  

The photo below is from a stage production.  When we watch the 1961 film version in class, consider what choices were  made in adapting the choreography from stage to screen.  The 1961 film stars Natalie Wood as Maria.





 

Hair - off-Broadway, 1967; Broadway 1968; Music by Galt McDermit; Book and Lyrics by James Rado and Gerome Ragni

Les Miserables -  English production - London's West End, 1985

Music	Claude-Michel Schönberg
Lyrics	Alain Boublil and Jean-Marc Natel (French lyrics) Herbert Kretzmer (English adaptation)
Book	Claude-Michel Schönberg Alain Boublil Trevor Nunn and John Caird (adaptation)
Basis	1862 novel by Victor Hugo Les Misérables

West Side Story - Questions and Task

The questions are due on Wednesday and you will have them back on Thursday, which is Valentine's Day.  The tasks are due on Friday, Feb. 15.

ADA 3M/4M                                                      February 8, 2013

 

Theatre Genres:  Reflections of Society and Culture

 

 MUSICAL THEATRE

The example of musical theatre we are using for this unit is West Side Story, which won numerous awards as a Broadway Musical and later as a Hollywood film.  While many musicals are considered lighter entertainment, West Side Story deals with serious issues.

 

1. List three of the things the opening dance sequences establish for the audience as the film version begins.  (K/U:  3 marks)

2. Read the lyrics to “When You’re a Jet”.  According to this song, why do boys join gangs?  (K/U: 2 marks)

3. The Puerto Ricans discuss why they came to America and whether it’s better for them in the ‘land of opportunity’ or ‘back there’.  At one point, Anita calls the leader of the Jets a ‘polack’, while her lover is a ‘spic’—and complains that people of any other ethnic background are accepted as Americans while they are not.  What does this show of American society at that time?  From you perspective and experience, has this shifted/changed?  Explain your viewpoint, citing the tv, movies, theatre and/or other media sources upon which it is based.  (I – 5 marks)

4. “Officer Krupke”  is a favourite song from this musical.  In a few short verses, it deals with the issue and problems of juvenile delinquency.  What social agencies/services/institutions does it cover?  Does it blame, explain, or simply shine a light onto the issue to make us think?  (I – 5 marks)

5. Creative Choices:  Pick A or B:  Rubrics for each course to follow—although you are choosing from the same options, your evaluation is based on the individual course expectations.  J

A.    Imagine you are developing a musical for a Romeo-and-Juliet story set in Dryden High School.  Write a song lyric that establishes a situation or explores a problem central to your version of the story.   (You may wish to set it to one of the West Side Story tunes for optimal effect….or another show-tune melody.)

B.     Write a script for a two character scene that could be considered ‘missing’ from West Side Story.  It can be set prior to, during, or after the events of the existing musical.  It should reveal character and/or develop situation.  Write it in proper script format.

 

Romeo and Juliet...and its Aftermath.....

With the 3M students, create a tableaux series showing us the story of Shakespeare's Romeo and Juliet.  You may only use 15 scenes.  GO!

Full text of Romeo and Juliet, by Act

Synopsis of Plot and Dramatis Personae


Questions:

Part A:

1.  What was the biggest challenge facing the group as you began this assignment?
2.  What was the biggest challenge you faced with this assignment as an individual?
3.  How were roles determined?  Were the right decisions made?  Why/why not?
4.  How were scenes decided upon?  Were the right decisions made?  Why/why not?
5.  How would having a director have changed the process/product of this assignment?  Explain.


Part B:

1.  List three works of art (music, painting, photography, sculpture, literature, film, theatre, etc.) that link to Romeo and Juliet in some way.  For example, West Side Story is a 20th century musical and film based on R & J, and musicians as diverse as Lou Reed and Taylor Swift have songs referring to the star-crossed lovers.

Welcome! Let's set the stage.....

 

This is ADA 4M: University/College Prep Drama. This course requires students to experiment individually and collaboratively with forms and conventions of both drama and theatre from various cultures and time periods. Students will interpret dramatic literature and other texts and media sources while learning about various theories of directing and acting. Students will examine the significance of dramatic arts in various cultures and will analyse how the knowledge and skills deeveloped in drama are related to their personal skills, social awareness, and goals beyond secondary school. http://www.edu.gov.on.ca/eng/curriculum/secondary/arts1112curr.pdf

Prerequisite: ADA 3M (Grade 11 University/College Prep Drama)

As you know, attending class is a vital component of any course. Because drama is an ensemble activity, your attendance affects everyone in the class. It is your responsibility to let me (and any group members you might have) know in advance of any plans you have to be away. Because we are operating as a split class with the Gr. 11's, you must be particularly vigilant about how you use your time. Always have a pen or pencil or your laptop with you, as there is a significant amount of writing to be done in this course.

Class rules are simple: show respect for yourself, the class and for the room.

Please have your parent/guardian sign the letter dated January 29, 2013 and return it as soon as possible.

Assignment #1:

Using mime, tableau, dialogue and asides, your group will create and present a five minute skit that illustrates the class rules for drama.

The purpose of this assignment is to show me that you know and understand these basic elements of drama that you learned in Gr. 9 or 10, that you know and understand what 'respect' looks like and sounds like in our class context, and that you know and understand how to work in a group and meet a deadline.

Assigned:  Thursday, January 31, 2013
Presentation:   Friday, February 1, 2013

Last Task....

Bravo for a very interesting and thought-provoking performance! 

Please report to the classroom at the beginning of the period to make sure everything is put away, as you were the last performers of the year.  Then come to the library so that you can complete your independent study questions.  These are very important--two or three weeks of 'term work' equivalency, so do not ignore them!  They are due Wednesday.

Rachel, I said you would be performing your monologue in 119, but we are going to be in the library.  We'll sort things out when I see you in person. :)  So glad you were able to be in class today!

Two last big things....

Monday is your performance, which is based around your Canadian monologues.  I am really looking forward to seeing what you've accomplished!

Don't forget the independent study work that you were given a couple of weeks ago...it's due on Wednesday...you'll have the library that day...make sure you e-mail it to yourself so you can easily access it.

Independent Study Questions

Please make sure that you get this work completed for the last of your term marks.  Hard copies will be available.

Independent Study Questions                                                                                 ADA 4M

32 Inquiry Marks;   110 Knowledge Marks

Remember to cite your sources.  To make certain you have accurate and up-to-date information, try to use three different sources for each of your answers.  Don’t forget the encyclopedia in the library—an excellent source for many items here!

A.     Playwrights                 /60 marks K             /9 marks Inquiry (3 sources)

Select six of the following playwrights, three from Column A and three from Column B.  In three to five sentences, provide basic biographical information for each as well as the titles of his/her most important works.  Explain his/her importance to theatre.

A	B
Waawaate Fobister	Anton Chekhov
Dennis Foon	Eugene Ionesco
Norm Foster	John Osborne
David French	Eugene O’Neill
Michel Tremblay	David Mamet
Tomson Highway	Arthur Miller
Ann-Marie MacDonald	George Bernard Shaw
Daniel MacIvor	Sam Shepard
Daniel David Moses	Neil Simon
Wajdi Mouawad	Tennessee Williams
John Murrell	Noel Coward
Morris Panych	Caryl Churchill
Sharon Pollock	Harold Pinter
George Ryga	Robert Bolt
Erin Shields	Tom Stoppard
Drew Hayden Taylor	Luigi Pirandello
Judith Thompson	Jean Genet
George F. Walker	Jean Anouilh
	Karel Capek
	Edward Albee

B.      Theatres/Theatre Festivals       /20 marks Knowledge             /6 marks I (3 sources)

            Select two of the following, one from Column A and one from Column B.   In three to      five sentences, indicate their location and mandate/ importance.  Which of the two          would you be most likely to visit?  Why?  (Location?  Types of plays performed?)

A	B
Winnipeg Fringe Festival	Sudbury Theatre Centre
Rainbow Stage	The Edmonton International Fringe Festival
Prairie Theatre Exchange	Stratford Shakespeare Festival
Le Cercle Moliere	Shaw Festival
Manitoba Theatre Centre	Tarragon Theatre
Merlyn Productions	Theatre Passe-Muraille
Magnus Theatre	Soulpepper Theatre Company
Manitoba Theatre for Young People	Native Earth
	Factory Theatre

C.      Write 250 to 500 words for each of the following topics.  Your information must be accurate and you must cite three sources.

a)       Bertolt Brecht and Epic Theatre         /10 marks K,        /3 marks I

b)      Stanislovski and Method Acting            /10 marks K,       /3 marks I

D.     Select one of the following topics.  Describe it and explain its importance to Western theatre.  Cite the three sources you use to collect your information.      /10 marks K, 3 marks I

a)      Antonin Artaud and Theatre of Cruelty   

b)      Kabuki Theatre

c)      Noh Theatre

d)      Jerzy Grotowski and the Theatre Laboratory

e)      Laban and Laban Movement Analysis

f)       The Duke of Saxe-Meiningen

E.            /8 marks Inquiry

1.      Go to  http://www.actra.ca/main/resources/stage-parents-guide/.  List three things that you expected to see in this type of resource and one thing that surprised you.  Explain why.

Waiting for Godot

Please read and view the items linked below and be ready to discuss on Tuesday, May 22.  Which design/interpretation of Beckett's play would you most have liked to see?  Why?  What questions would you most want to ask the designers/directors?

First of all, read Peter Hall's Production History -- http://www.samuel-beckett.net/Penelope/production_history.html   This will give you a sense of the world into which this play 'was born'.



Chan's New Orleans Godot 'event':  http://www.nytimes.com/2007/12/02/arts/design/02cott.html?pagewanted=all

The National Theatre - Czech Republic, 2010 http://www.narodni-divadlo.cz/Default.aspx?jz=en&dk=predstaveni.aspx&sb=2&ic=5458

State Theatre of South Australia, 2006 --read Victoria Lamb's design notes, view all the photos and the design process as well, please.  http://www.victorialamb.com/stage/Godotdesign.html




And finally, what do you think of the staging below?  What is its significance?   If you are able to find the name of the designer and the production, please let me know so I can properly credit it!  The biggest question in my mind:  does the platform actually teeter-totter?

Rosencrantz & Guildenstern are Dead - May 2 - 4 2012

http://en.wikipedia.org/wiki/Rosencrantz_and_Guildenstern_Are_Dead

This 1966 Tom Stoppard play follows two minor characters from Hamlet.  We will be watching the 1990 film version written and directed by Tom Stoppard himself.  If you miss a class, arrange with me to view whichever portion of the film you need to see during lunch.


Notes and reader reviews of the published play.

We are watching this with the Grade 11 class.  Please go on to read this on-line http://www.samuel-beckett.net/AbsurdEsslin.html, as we will be watching Beckett's Waiting for Godot in another week or so.  The language and concepts will be challenging for you, so your task is to select five passages from this piece of text to bring to a discussion on May 14, 2012. 

Have a great Easter

We will resume scene studies/direction after Easter, so you will be splitting your attention between a polishing of your Shakespearean monologues and a new scene.

In the meantime, consider the elevation of a simple thing like water on the floor of a mine to a symbol of life and death, as portrayed in the portion of Gumboots we watched with the Gr.11's at the end of today.

Assignment: Shakespearean Monologue

You are continuing to work on your Shakespearean monologue. 

This includes: 

a) memorizing it so that you can recite it effortlessly (and    meaninglessly, LOL) like the alphabet; 

b) 'translating' it in writing into the language of a current resident of Dryden, Ontario 

c) rehearsing it with the 'punctuation walk' exercise you were shown in class on Monday

d) choosing a specific setting (place and time) for your 'production' and costuming yourself

e) establishing your staging of the monologue


Your performance will be on Tuesday, April 3, 2012.

We will develop the rubric together on Wednesday, March 28, in class.

Scene Studies #1

This semester you will each have an opportunity to direct two of your classmates in a scene.  Our first scenes are contemporary two-character scenes, due on Thursday, March 1st. 

Group 1:   Director:  Michael, with Jess and Meagan

Group 2:   Director:  Rachel, with Cassie and Neil

Evaluation:

Criteria	Level 4	Level 3	Below Standard—what you need to do next:
Prepared (Actors) ·         Knowing your lines ·         Knowing the script	Authentic interaction between two people in a specific situation at a specific time; confidant, no hesitation in movement/blocking may need one prompt; able to cover for partner if something goes wrong	Interaction between two characters in a specific situation, at a specific time; exhibits confidance, little hesitation in movement/blocking 2 – 3 errors May require a script on stage for occasional prompting
Vocal (Actors)	Audience experiences authentic  voice of the character being portrayed in this specific situation at this specific time	Appropriate volume, pitch, rate, pace, tone Correct pronunciation Holds for laughs if necessary
Physical (Actors)	Audience experiences authentic physical communication of the character being portrayed in this specific situation at this specific time	Appropriate use of gesture, facial expression, stance, movement to convey content (message) to audience

Application:  

            Prepared                    4          3          2          1

            Vocal                           4          3          2          1

            Physical                      4          3          2          1

           

Blocking (Director)	The planned movements and use of set add authenticity to the scene	The planned movements and use of set help to communicate/convey the scene/its message to their audience
Character Portrayal (Director)	The actors portray authentic characters true to the nature of the scene	The actors have a good sense of what is going on in the scene and use their voice and physicality to portray a definite character
Set/Staging/ Costumes (Director)	All elements combine to create a superior  theatrical experience for the audience (set/staging/costuming/ music/sound effects)	Most of the elements combine to establish a good theatrical experience for the audience

Application:  

            Blocking                                              4          3          2          1

            Character Portrayal                           4          3          2          1

            Set/Staging/Costumes                       4          3          2          1

           

Reflection Questions (Thinking/Inquiry Level 1 2 3 4 – degree/quality of thought/insight)

                                    (Communication Level 1 2 3 4 – use of proper terms; clarity of message

                                                                                                for purpose/audience)

If you were an actor, complete A.  If you were the director, complete B.

A.       

1.      In two to three sentences, summarize this scene from your character’s viewpoint.

2.      Explain how your director cast this scene.  (Note:  if it was determined by gender, say so. J)

3.      Did you get the role you preferred?  (Note: if it was determined by gender, say so and move on to question 4.)  If the role was NOT determined by gender, which of the two roles would you have preferred?  Why?

4.      What was the most challenging aspect of portraying this character?

5.      In what way(s) did you draw upon your own personal experiences to portray this character?

6.      In drama classes, you are often thrown into a group to create and perform a scene, or given a script to work on with others.  How did this experience of having an official director change the way you worked? 

7.      What did you like about having a director?  What did you NOT like about having a director?  Based on this experience, how do you plan to approach the role of director when it is your turn?

8.      As a drama student, what was the most challenging part of this task?  (working with others, memorizing, coming to class…. J)  Why?  How did you overcome it?

Reflection Questions (Thinking/Inquiry Level 1 2 3 4 – degree/quality of thought/insight)

                                    (Communication Level 1 2 3 4 – use of proper terms; clarity of message

                                                                                                for purpose/audience)

If you were an actor, complete A.  If you were the director, complete B.

B.

1.      In two to three sentences, summarize this scene.

2.      Explain how you cast this scene.  (Note:  if it was determined by gender, say so. J)

3.      Did your cast fulfill your expectations?  Explain.

4.      What was the most challenging aspect of directing your actors in portraying their characters?   If you could only pick one of these two people to work with again, which of the two would you prefer?  Why?

5.      In what way(s) did you draw upon your own personal experiences as you directed these actors in this scene? 

6.      What did you like about being a director?  What did you NOT like about being a director?  Based on this experience, how do you plan to approach the role of actor when it is your turn?

7.      As a drama student, what was the most challenging part of this task?  (working with others, conveying your vision, coming to class…. J)  Why?  How did you overcome it?