The Arts Dance, Music, Theatre, and Visual Arts Development of The Arts Standards The journey in progress The final drafts of the Washington State Arts K 12 Learning Standards have been created and developed from the four initial Arts Essential Academic Learning Requirements (EALRs) (1993), and the Arts Frameworks (2001) to provide clarity and specificity. The Arts K 12 Learning Standards address the same four Arts EALRs (below), with the new Bloom s Taxonomy terms to provide for student demonstration of learned standards. Two main themes of focus emerged from the research and development work that led to defining: What students should know and be able to do in the arts; dance, music, theatre, and visual arts and demonstration of these expectations; and Integrate the arts across core curricula, and provide realistic examples of students creating, performing, and responding in multiple learning situations in meaningful and transferable ways that fostered individual and group achievement and success. The development for the Arts Standards officially began in 2006 with a team of 35 arts educators and leaders representing all nine ESD regions. The four drafting teams representing dance, music, theatre, and visual arts, relied on the feedback from various committees, research and best practice, guidance from national arts standards documents, and the Office of Superintendent of Public Instruction (OSPI) Grade Level Expectations (GLE) documents in other core subject area disciplines, to refine and shape their work. The Washington State Arts K 12 Learning Standards have been created to provide clarity and specificity through: Essential Academic Learning Requirements (EALRs) and components, with specific Grade Level Expectations (GLEs) for each arts discipline, Evidence of Learning (EOL) statements, optional examples, resources, and Arts Classroom Based Performance Assessments () where possible, for each arts discipline. The Evidence of Learning (EOL) is a bulleted list of ways students can demonstrate learning, considered essential to the GLE. Educators are encouraged to identify additional ways in which the student can demonstrate proficiency. An example statement may be included to provide samples of possible student demonstrations to give educators additional illustrations of the learning. The evidences of learning and examples are not exhaustive, and are a springboard for educators to encourage and to find multiple ways by which learners can demonstrate what they know and are able to do through dance, music, theatre and visual arts. Organization of The Arts Standards: Each of the four (EALRs) includes more specific statements called components. The EALRs and components are the same for the four arts disciplines: dance, music, theatre and visual arts. Additionally, EALR four has the same GLE statements in all four arts. The evidence of learning (EOL) statements and examples are specific to each arts discipline (dance, music, theatre and visual arts). To demonstrate arts proficiency of the EALRs/Components, the GLEs for dance, music, theatre, and/or visual arts may be used.
K-12 EALR Statement- Essential Academic Learning Requirements K-12 Component Dance Music Theatre Visual Arts Grade Level Expectations (GLEs) K 1 2 3 4 5 6 7/8 9/10 11/12 Evidence of Learning (EOLs) Examples Resources Classroom-Based Performance Assessments () EALR 1 The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.1: Understands and applies arts concepts and vocabulary. Component 1.2: Develops arts skills and techniques. Component 1.3: Understands and applies arts genres and styles from various artists, cultures and times. Component 1.4: Understands and applies audience conventions in a variety of arts settings and performances. EALR 2 The student demonstrates thinking skills using artistic processes of creating, performing/presenting and responding, in dance, music, theatre and visual arts. Component 2.1: Applies a creative process in the arts (dance, music, theatre and visual arts.) (Identifies, explores, gathers, interprets, uses ideas, implements, reflects, refines, presents) Component 2.2: Applies a performance process. (Identifies, selects, analyzes, interprets, rehearses, adjusts, refines, presents, exhibits, produces, reflects, and self evaluates) Component 2.3: Applies a responding process. (Engages, describes, analyzes, interprets, and evaluates) EALR 3 The student communicates through the arts (dance, music, theatre and visual arts). Component: 3.1: Uses the arts to express and present ideas and feelings. Component: 3.2: Uses the arts to communicate for a specific purpose. Component: 3.3: Develops personal aesthetic criteria to communicate artistic choices. (Aesthetics is the study of beauty and is colored by an individual s personal experience, culture, and sensory perceptions to life, understanding that people from all cultures are unique, special, and attractive.) EALR 4 The student makes connections within and across the arts (dance, music, theatre and visual arts), to other disciplines, life, cultures and work. Component 4.1: Demonstrates and analyzes the connections among the arts disciplines. Component 4.2: Demonstrates and analyzes the connections among the arts and other content areas. Component: 4.3: Understands how the arts impact and reflect lifelong choices. Component: 4.4: Understands how the arts influence and reflect cultures/civilization, place and time. Component: 4.5: Understands how arts knowledge and skills are used in the world of work, including careers in the arts.
REQUIRED: Essential Academic Learning Requirement (EALR): A broad statement of the learning that applies to grades K 12. Component: A statement that further defines and provides more specific information about the EALR. There is at least one component for each EALR. Numbering System: This identifies the EALR, the component, and the GLE. In the example at right, the number 1 indicates the EALR, 1.2 indicates the component, and 1.2.2 indicates the GLE (in visual arts and in dance). Grade Level Expectation (GLE): This is grade-specific information about the EALR and component and includes a statement of cognitive demand* and the essential content or process to be learned. Evidence of Learning: A GLE might include a bulleted list of student demonstrations considered essential to the GLE. In addition, educators are encouraged to identify additional concepts in which the student can show proficiency. GLE Tag: A short name or descriptor for the numbered GLE that describes the content of the GLE. SUGGESTED: Classroom teaching strategies used for students to demonstrate specific GLEs. These examples are meant to peak teacher interest and can be used as a springboard to create additional strategies to demonstrate student learning. and/or Units: Refers to additional suggestions on how to meet and exceed the GLE expectations at this grade level. These resources may/could assist the teacher in meeting the expectations of the GLEs. Skills/Techniques EALR 1: Theatre The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. GLE 7-8 1.2.2 Movement Voice Character Development Improvisation Applies understanding of given circumstances to make vocal choices of projection, articulation, expression and breath support for a Rehearses and uses projection, articulation, and expression based on given circumstances for a Rehearses and implements skills and strategies for increasing for diaphragmatic breathing. Examples Implements appropriate level of volume for the given circumstances of the character. Uses articulators (lips, teeth, tongue, and soft/hard palate) that clarify the given circumstances of the character while still being understood. Implements a variety of rate, pitch, pause, emphasis, and inflection to create vocal expression of the character s given circumstances. Uses breath control to maintain support in phrasing acting techniques, and technical improvisation, acting, directing, technical including plays, poetry, nursery rhymes, picture books, and novels. Animal Crackers Poetry Month CBPA: Refers to one of the OSPI-developed Classroom-Based Performance Assessments () that could be used to assess students ability to meet this GLE. The are the Washington Assessment of Student Learning in The Arts and can be accessed at: http://www.k12.wa.us/arts//default.aspx * An adaptation of A Taxonomy for Teaching, Learning, and Assessing: A Revision of Bloom s Taxonomy (Anderson, et al., 2001) was used to categorize the cognitive demand required of the student. Last updated October 2009. Source: Washington State Office of Superintendent of Public Instruction (OSPI) Arts Program at: http://www.k12.wa.us/arts/standards/default.aspx
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.1: Understands and applies theatre concepts and vocabulary. GLE K 1 2 3 4 5 Elements of Theatre 1.1.1 Character Plot Setting Conflict Dialogue Theme Remembers characters in theatre texts (stories) and/or performances. Identifies/describes the appearance and actions of characters in the story/ Describes characters used in a play you saw. Creates puppet plays with handmade puppets. Tells stories with books and puppets. Uses finger and hand puppets to tell stories, share, and create. (Teacher Note: Refer to Theatre Elements Matrix: Red Riding Hood) Resources on theatre history, styles, genres, acting techniques, and Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. Examples of literature from diverse cultures, including plays, poetry, nursery rhymes, fables, folk tales, short stories, legends, myths, Refer to the annotated list of resources included in the appendix. http://www.washingtonthespians. org/index.php American Association for Theatre and Education AATEhttp://www.aate.com Educational Theatre Association- EdTA- http://www.edta.org/ Remembers characters and plot in theatre texts (stories) and/or performances. Identifies/describes character relationship(s) in the story/ Identifies the important events of plot in a story/ Describes characters and the plot used in a play you saw Creates puppet plays with handmade puppets. Tells stories with books and puppets Uses finger and hand puppets to tell stories, share, and create. (Teacher Note: Refer to Theatre Elements Matrix: Red Riding Hood) legends, myths, http://www.washingtonthespians.org/index.php Remembers characters, plot, and setting in theatre texts (stories) and/or performances. Identifies/describes traits of characters and tell how they act in a story/ Identifies the beginning, middle, and end as well as important events of plot in a story/ Identifies the setting of a story/ Describes characters, plot, and setting used in a play you saw or read. Creates puppet plays with handmade puppets. Tells stories with books and puppets. Uses finger and hand puppets to tell stories, share, and create. (Teacher Note: Refer to Theatre Elements Matrix: Red Riding Hood) fables, folk tales, short stories, legends, myths, picture (WATE) - Remembers character, plot, setting, and conflict of theatre texts (stories) and/or performances. Identifies/describes the feelings of a character in a story/ Identifies specific events in the beginning, middle, and end of plot in a story/ Describes the time and place of a story/ Identifies a central conflict of a story/ Describes characters, plot, setting, and conflict used in a play you saw or read. (Teacher Note: Refer to Theatre Elements Matrix: Red Riding Hood) genres, acting techniques, and Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. Examples of literature from diverse cultures, including plays, poetry, nursery rhymes, fables, folk tales, short stories, legends, myths, Refer to the annotated list of resources http://www.washingtonthespians.org /index.php American Association for Theatre and Education AATEhttp://www.aate.com Educational Theatre Association- EdTA- http://www.edta.org/ Remembers and understands how character, plot, setting, conflict, and dialogue are used in of theatre texts (scripts) and/or performances. Explains what the character wants (objective) in a story/ Explains the sequence of events (actions) that move the plot forward in a story/ Explains the locations within a setting of a story/ Interprets a central conflict and the resolution of a story/ Infers from dialogue how a character speaks in a story/ Explains how characters, plot, setting, conflict, and dialogue are used in a play you saw or read. (Teacher Note: Refer to Theatre Elements Matrix: Red Riding Hood) fables, folk tales, short stories, legends, myths, picture (WATE) - Remembers and understands how character, plot, setting, conflict, dialogue, and theme are used in of theatre texts (scripts) and/or performances. Explains what the character wants (objective) in a story/ Explains the sequence of events (actions) that move the plot forward in a story/ Explains the locations within a setting of a story/ Summarizes a central conflict and the resolution of a story/ Infers from dialogue how a character speaks in a story/ Interprets theme in a script/ Explains how characters, plot, setting, conflict, dialogue, and theme are used in a play you saw or read. (Teacher Note: Refer to Theatre Elements Matrix: Jack and the Beanstalk and Romeo and Juliet) acting techniques, and improvisation, acting, directing, technical design, playwriting and teaching methods. including plays, poetry, nursery rhymes, fables, folk tales, short stories, legends, myths, included in the appendix. (WATE) - Education AATEhttp://www.aate.com Page 1 of 49
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EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.1: Understands and applies theatre concepts and vocabulary. GLE 6 7/8 9/10 11/12 Elements of Theatre 1.1.1 Character Plot Setting Conflict Dialogue Theme Understands elements of theatre: character, plot, setting, conflict, dialogue, and theme of theatre scripts, and/or performances. Compares character(s) in performance/script. Paraphrases plot(s) of performance/script. Summarizes location within the setting in performance/script. Clarifies the difference between minor conflict and central conflict in performance /script. Interprets dialogue of characters in performance script. Interprets the playwright s theme in Paraphrases theme for production. Explains how characters, plot, setting, conflict, dialogue, and theme are used in a play performance or script Explains multiple conflicts in a play performance or script (Teacher Note: Refer to Theatre Elements Matrix: Jack and the Beanstalk and Romeo and Juliet) Applies knowledge of the elements of theatre: character, plot, setting, conflict, dialogue, and theme of theatre scripts, and/or performances. Expresses how character portrayals vary in a performance/script. Expresses how the sequence of events moves the plot from the beginning to the end. Expresses how setting is used in performance/script. Expresses how central conflict is used within performance/script. Expresses how dialogue is used by each character in performance/script. Expresses how theme is used in Expresses how theme is used for production. Explains how characters, plot, setting, conflict, dialogue, and theme are used in a play performance or script Explores how characters, plot, setting, conflict, dialogue, and theme are used in a play performance or script (Teacher Note: Refer to Theatre Elements Matrix: Jack and the Beanstalk and Romeo and Juliet) Analyzes elements of theatre: character, plot, setting, conflict, dialogue, and theme of theatre scripts, and/or performances. Examines character portrayals in performance/script. Examines plot(s) structure of performance/script. Examines use of setting in performance/script. Distinguishes between major and minor conflicts as well as character conflicts in performance/script. Examines dialogue for subtext in performance/script. Examines development of theme in Selects choice of theme for production. Explains how characters, plot, setting, conflict, dialogue, and theme are used in a play performance or script Examines how characters, plot, setting, conflict, dialogue, and theme are used in a play performance or script (Teacher Note: Refer to Theatre Elements Matrix: Romeo and Juliet) Evaluates elements of theatre: character, plot, setting, conflict, dialogue, and theme of theatre scripts, and/or performances. Critiques the character portrayal in performance/script. Critiques plot(s) structures of performance/script. Critiques the effectiveness of setting in performance/script. Critiques development and resolution of conflicts in performance/script. Critiques effectiveness of dialogue in performance/script. Critiques use of theme in Justifies choice of theme for production. Explains how characters, plot, setting, conflict, dialogue, and theme are used in a play performance or script Reflects on how characters, plot, setting, conflict, dialogue, and theme are used in a play performance or script (Teacher Note: Refer to Theatre Elements Matrix: Romeo and Juliet) acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, poetry, nursery rhymes, picture (WATE) - Education AATEhttp://www.aate.com Page 3 of 49
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. GLE K 1 2 3 4 5 Acting Techniques/Skills 1.2.1 Movement Voice Character Development Improvisation Creates facial expressions for a character in a reenactment of a story. Develops a variety of facial expressions. Generates facial expressions for simple emotions such as mad, sad, and/or glad. (Red Riding Hood s scared face when she meets the wolf; happy face when she sees Grandma.) genres, acting techniques, and Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. cultures, including plays, poetry, nursery rhymes, fables, folk tales, short stories, legends, myths, picture http://www.washingtonthespians.org/i ndex.php Education AATEhttp://www.aate.com Educational Theatre Association- Creates facial expressions and gestures for characters for a Develops facial expressions. Develops gestures. Generates facial expressions for simple emotions such as mad, sad, and/or glad. Generates simple gestures which show characters feelings and actions. (Red Riding Hood s scared face with hands covering her mouth). legends, myths, http://www.washingtonthespians.org/index.php Creates facial expression, gestures, body movement/stance for characters in a Develops facial expressions. Develops gestures. Develops body movements/stance. Generates facial expressions appropriate for character s emotions. Generates appropriate gestures which show characters feelings and actions. Generates body movements/stance (Locomotor and non-locomotor movement.) (Red Riding Hood has a scared face, hand across mouth, turning away from the wolf). legends, myths, http://www.washingtonthespians.org/index.php Creates facial expression, gestures, and body movement/stance and stage position for characters in a Develops facial expressions. Develops gestures. Develops body movements/stance. Develops stage positions. Develops facial expressions appropriate for character s emotions. Develops appropriate gestures which show character s feelings and actions. Develops body movements/stance (Locomotor and non-locomotor movement.) Develops stage positions such as: levels, balance, and focus (stage picture) achieved through standing, sitting, positioning (full front, profile, full back) and stage location (upstage, downstage, etc.). (Red Riding Hood has a scared face, hand across mouth, while backing away from the wolf upstage.) legends, myths, (WATE) - http://www.washingtonthespians.org/index.p hp Creates facial expression, gestures, body movement/stance, stage position and blocking for a Develops facial expressions. Develops gestures. Develops body movements/stance. Develops stage positions. Develops blocking. Develops facial expressions appropriate for characters emotions. Develops appropriate gestures which show characters feelings and actions. Develops body movements/stance (Locomotor and non-locomotor movement.) Develops stage positions such as: levels, balance, and focus (stage picture) achieved through standing, sitting, positioning (full front, profile, full back) and stage location (upstage, downstage, etc.) Develops blocking appropriate for the character/action in a (Red Riding Hood has a scared face, hand across mouth, while backing away from the wolf upstage and then running away). acting techniques, and design, playwriting and teaching methods. fables, folk tales, short stories, legends, myths, picture books, and novels. included in the appendix. (WATE) - Education AATE- http://www.aate.com Page 4 of 49 Applies understanding of given circumstances to create facial expression, gestures, body movement/stance, stage positions, blocking for a character in a Uses facial expressions, gestures, body movements/stance, stage positions, and blocking based upon given circumstances. Implements understanding of given circumstances of a script to develop facial expressions, gestures, body movements/stance, stage positions, and blocking. (Jack and the Beanstock: Mother tells Jack to sell the cow. Jack crosses from stage left to stage right, grabs the cow s halter, sighs, and pats the cow lovingly.) (Romeo and Juliet: Lord Capulet announces that Juliet will marry Paris. Based on those given circumstances, Juliet might cross from stage right to stage left, to her father, crying, falling to her knees, and with her hands clasped). legends, myths, included in the appendix http://www.washingtonthespians.org/index. php
EdTA- http://www.edta.org/ Greetings, Sister City. Be a Good Sport Page 5 of 49
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. GLE 6 7/8 9/10 11/12 Acting Techniques/Skills 1.2.1 Movement Voice Character Development Improvisation Applies understanding of given circumstances of a script to create facial expression, gestures, body movement/stance, stage positions, and blocking for a character in a Uses analysis of given circumstances of a script to create character movement for Implements text analysis in the creation of character movements. Uses character movement that expresses the information from the given circumstances of a script. (Jack and the Beanstalk: The giant enters noisily, pounding his chest, stomps across the stage, and demands his dinner.) (Romeo and Juliet: The nurse enters from meeting Romeo. Juliet responds with a happy face while stretching out her arms to the nurse, leaning forward eagerly, while crossing stage right to stage left as the nurse enters.) Applies understanding of given circumstances of a script to create facial expression, gestures, body movement/stance, stage positions, blocking, and business for a character in a Uses analysis of given circumstances of a script to create character movement incorporating character business for Implements text analysis in the creation of character movements including character business. Uses character movement, including character business that expresses the information from the given circumstances of a script. (Jack and the Beanstalk: The giant enters noisily, pounding his chest, stomps across the stage, demands his dinner, lifts the lid on the pot, and tastes the soup.) (Romeo and Juliet: The nurse enters from meeting Romeo. Juliet responds with a happy face while stretching out her arms to receive the packages from the nurse, leaning forward eagerly, while crossing stage right to stage left as the nurse enters.) Analyzes given circumstances of a script to create facial expression, gestures, body movement/stance, stage positions, blocking, and business for a character in a Examines the text for choices in developing character movement. Selects facial expression, gestures, body movement/stance, stage positions, blocking and business for a character movement in a performance based upon given circumstances. Produces character movement based upon examination and selection of character movement choices based upon given circumstances. (Romeo and Juliet: Facing full front, Juliet has a pouty face. At the sound of the door opening. Juliet turns right profile, and runs toward the nurse with hands outstretched, throwing the packages out of the nurse s arms, and scolding the nurse for taking so long to return with a message from Romeo. This is one possible choice for character movement based upon the given circumstances of the scene.) Evaluates the use of facial expression, gestures, body movement/stance, stage positions, blocking, and business of a character based on given circumstances in a Justifies choice of character movement based upon given circumstances for a Critiques the effectiveness of character movement in a performance based upon given circumstances. Critiques own character movement choices in a performance and the choices of others in a (A student response might be: I scowled and quivered my lower lip to show that my Juliet was pouting and angry in the scene with the nurse for making her wait for a message from Romeo. ) (A student response might be: In the performance that I saw, the actor playing Juliet chose to sit on the bed, not conveying the urgency with which she wanted news about Romeo. ) acting techniques, and improvisation, acting, directing, technical design, playwriting and teaching methods. including plays, poetry, nursery legends, myths, included in the appendix. (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, poetry, nursery rhymes, picture (WATE) - Education AATEhttp://www.aate.com Animal Crackers Silent Movie Auditioning with Pantomime Auditioning with Pantomime Page 6 of 49
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. GLE K 1 2 3 4 5 Acting Techniques/Skills 1.2.2 Movement Voice Character Development Improvisation Applies vocal projection to be heard and understood in a Uses a loud enough voice to be heard throughout the performance space. Uses cueing, and call and response for voice projection, such as: Cueing: Teacher narrates the story and cues students on repeated lines and patterns. Teacher says: And the wolf says The students respond: My, what big eyes you have! Call and Response: The teacher says: What does the wolf say? Students respond: Growl, growl, growl. Teacher says: What does the woodcutter do? Students respond: Chop, chop, chop. legends, myths, (WATE) - http://www.washingtonthespians.org/index. php Applies vocal projection and expression to be heard and understood in a Uses a loud enough voice to be heard throughout the performance space and uses expression that conveys meaning and feelings. Expresses different voices for different characters, such as: The wolf uses a soft enticing voice to persuade Red Riding Hood to take the shortcut. Red Riding Hood uses a timid/unsure voice in agreement to Wolf s suggestion. Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. cultures, including plays, poetry, nursery rhymes, fables, folk tales, short stories, legends, myths, picture books, and novels. http://www.washingtonthespians.org/in dex.php Education AATEhttp://www.aate.com Educational Theatre Association- EdTA- http://www.edta.org/ Applies vocal projection, expression and articulation to be heard and understood in a Uses a loud and clear voice to be heard and understood throughout the performance space. Uses expression to convey meaning and feelings. Uses consonants and vowels correctly for clear articulation. Speaks clearly using the full range of articulators to enunciate (lips, teeth, tongue, and soft/hard palate. Uses clear pronunciation of the consonant sounds to say the lines of the play/story, such as: Grandmother, what big eyes you have! Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. legends, myths, picture books, and novels. http://www.washingtonthespians.org/ind ex.php Education AATEhttp://www.aate.com Applies understanding projection, articulation, and expression to create a varied vocal Implements appropriate variety of projection, articulation, and expression for a theatre Speaks clearly using the full range of articulators to enunciate (lips, teeth, tongue, and soft/hard palate. Uses variety of rate, pitch, pause, emphasis, and inflection to create expression. Uses a variety of vocal skills and techniques to enhance the performance such as: The wolf uses a stage whisper, a normal voice, and a gruff voice/growl. Red Riding Hood uses a stage whisper, a scream, a rapid and high pitched voice to convey fear, etc. legends, myths, http://www.washingtonthespians.org/index.php Applies vocal choices of projection, articulation, and expression and movement for a Uses appropriate variety of projection, articulation, and expression for a theatre Implements choices in voice and movement to create a character for a Speaks clearly using the full range of articulators to enunciate (lips, teeth, tongue, and soft/hard palate. Uses variety of rate, pitch, pause, emphasis, and inflection to create expression. Role plays possible choices of voice and movements to create character such as: The wolf walking on all fours while growling his lines. legends, myths, http://www.washingtonthespians.org/index.php Applies understanding of given circumstances to create vocal choices of projection, articulation, and expression for a character in a Uses projection, articulation and expression for a Portrays a believable character through voice and movement choices for a Examples Uses appropriate volume to be heard by entire audience at all times. Speaks clearly using the full range of articulators to enunciate (lips, teeth, tongue, and soft/hard palate). Uses variety of rate, pitch, pause, emphasis, and inflection to create expression. Integrates voice and movement to create a believable character in a performance, such as: Juliet with her hand upon her cheek on the balcony saying her lines out to the stars with baited breath (inflection and dynamics in her voice.) acting techniques, and design, playwriting and teaching methods. fables, folk tales, short stories, legends, myths, picture books, and novels. included in the appendix. (WATE) - Education AATE- http://www.aate.com Page 7 of 49
Greetings, Sister City Time for Rhyme Center Stage Star Page 8 of 49
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. Acting Techniques/Skills GLE 6 7/8 9/10 11/12 1.2.2 Applies understanding of given circumstances to make Applies understanding of given circumstances to make Analyzes and applies vocal choices of projection, vocal choices of projection, articulation, and expression vocal choices of projection, articulation, expression and articulation, and expression based on given circumstances for a scripted character in a breath support for a in creating a Movement Voice Character Development Improvisation Implements a variety of choices of projection, articulation, and expression based on given circumstances in the script for a Uses appropriate volume to be heard by entire audience at all times. Speaks clearly using the full range of articulators to enunciate (lips, teeth, tongue, and soft/hard palate). Uses variety of rate, pitch, pause, emphasis, and inflection to create expression. Integrates voice and movement to create a believable character in a performance, such as: Juliet with her hand upon her cheek on the balcony saying her lines out to the stars with baited breath (inflection and dynamics in her voice.) Rehearses and uses projection, articulation, and expression based on given circumstances for a Rehearses and implements skills and strategies for increasing for diaphragmatic breathing. Examples Implements appropriate level of volume for the given circumstances of the character. Uses articulators (lips, teeth, tongue, and soft/hard palate) that clarify the given circumstances of the character while still being understood. Implements a variety of rate, pitch, pause, emphasis, and inflection to create vocal expression of the character s given circumstances. Uses breath control to maintain support in phrasing, such as: Mercuito s Queen Mab Speech where he must select where to breath or he will run out of breath before the end of the speech. Examines and selects choices of appropriate projection, articulation, and expression based on given circumstances in creating a Refines and adjusts skills and strategies for increasing diaphragmatic breathing. Examines the text for choices in developing character voice. Examples Selects appropriate level of volume for the given circumstances of the character. Uses articulators (lips, teeth, tongue, and soft/hard palate) based on selection from the given circumstances of the character while still being understood. Uses a selected variety of rate, pitch, pause, emphasis, and inflection to create vocal expression of the character s given circumstances. Uses breath control to maintain support in phrasing, such as: Expression of Romeo s realization and/or expression of his existing emotion in I am fortune s fool. Creates and evaluates vocal choices of projection, expression, and articulation based on given circumstances in a Justifies choice of projection, articulation, and expression based on given circumstances in a Develops and implements skills and strategies for increasing diaphragmatic breathing. Critiques own vocal choices of character in a performance and the choices of others in a (A student response might be: I yelled and elongated my vowels when I stated, I am fortune s fool, to express my character s feeling that his life was over.) (A student response might be: In the performance that I saw, the actor playing Juliet chose to whisper so quietly in the balcony scene that I was not able to hear a word that she said.) acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, poetry, nursery rhymes, picture (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, poetry, nursery rhymes, picture (WATE) - Education AATEhttp://www.aate.com acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com Animal Crackers Poetry Month Speaking the Speech Speaking the Speech You re History Page 9 of 49
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. GLE K 1 2 3 4 5 1.2.3 Movement Voice Character Development Improvisation Creates a character that is human, non-human, and/or an inanimate object from an event in a story. Imagines the interpretation of a character from nursery rhymes, fairy tales, folk tales, and children s literature. Develops a character such as Goldilocks from The 3 Bears, Jack Sprat, the donkey in Aesop s Fables, etc. Creates interactions between characters in an event of a story. Imagines a relationship between his/her character and another character in a nursery rhyme, fairy tale, folk tale, and/or a children s literature story. Portrays that the bears want Goldilocks to be their friend, or Jack Sprat is really hungry and wants to eat what his wife has on her plate, too. Creates a character that is portrayed throughout a story. Performs a character throughout the entire story. Portrays the character of Little Red Riding Hood. Create a character that interacts with the elements of theatre used in a script. Develops a character based on the elements of theatre throughout the Portrays the character of Little Red Riding Hood (character) who is walking to her grandmother s house (plot), through the woods (setting), and encounters a strange wolf (conflict), and has a conversation (dialogue), and learns that it is dangerous to talk to strangers (theme). Creates a character that has clear objectives from an event/scene within a script. Develops an objective for a character. Portrays the character of Little Red Riding Hood who wants to get to her grandmother s house (objective) as soon as possible. Creates a character that actively works toward objectives within a script. Performs a character using the objectives generated from the script. Portrays the character of Little Red Riding Hood who wants to get to her grandmother s house (objective) as soon as possible. Red Riding Hood is willing to go through a forest, talk to a wolf, and take an unknown shortcut to meet her objective. Acting Techniques/Skills 1.2.4 1.2.5 Applies prior knowledge of non-human and imaginary creatures in role-playing. Imitates movements and sounds of fish, animals, birds and imaginary creatures. Role-plays an interpretation of a sea creature in the ocean. (Setting) Role-plays an interpretation of being a cat, dog, bird, dinosaur, etc. (Character) Applies prior knowledge of non-human and imaginary creatures interacting in role-playing. Imitates movements and sounds of the interaction of fish, animals, birds and imaginary creatures. Applies prior knowledge of human behavior within a role play. Creates people and scenarios based on given circumstances. Develops individual characteristics of familiar people within an event. Dramatizes a parent planning a surprise party for their child. Role plays a teacher planning a field trip to a museum. Imitates the behavior of a senior citizen, toddler, royalty, etc. Creates relationships between characters based on given circumstances. Imitates relationships between familiar people within a given environment. Dramatizes a family at a picnic. Role plays a group of fishermen or fisherwomen out at sea. Imitates a group of friends playing a fun game on the playground. Creates objectives for characters based on given circumstances. Generates objectives for a character within an event or setting. Dramatizes an actor on stage. Role plays an astronaut just before lift off of a spaceship adventure. Imitates a cast-a-way or pirate on a deserted island. Creates objectives, obstacles and tactics based on given circumstances. Generates objectives, obstacles and tactics within an event for a specific character. Example: Improvises a scene in which a toddler wants a cookie before dinner and his parent has told the toddler that the cookie is for dessert after dinner. The toddler wants the cookie immediately and uses tactics such as promising to eat all of the dinner, pick up all the toys, is very kind to the parent, or cries. Imitates movements and language of familiar people. Demonstrates the interaction between fish in a school of fish, or an animal in a barnyard full of animals, etc. Imitates parents, teachers, police-people, firefighters, doctors, nurses, principals, friends, siblings, etc. Page 10 of 49
genres, acting techniques, and Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. Examples of literature from diverse cultures, including plays, poetry, nursery rhymes, fables, folk tales, short stories, legends, myths, Refer to the annotated list of resources http://www.washingtonthespians.org /index.php American Association for Theatre and Education AATEhttp://www.aate.com Educational Theatre Association- EdTA- http://www.edta.org/ acting techniques, and improvisation, acting, directing, technical design, playwriting and teaching methods. including plays, poetry, nursery rhymes, fables, folk tales, short stories, legends, myths, included in the appendix. (WATE) - Education AATE- http://www.aate.com Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. legends, myths, picture books, and novels. http://www.washingtonthespians.org/ind ex.php Education AATEhttp://www.aate.com Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. legends, myths, picture books, and novels. http://www.washingtonthespians.org/ind ex.php Education AATEhttp://www.aate.com Professional texts on creative dramatics, improvisation, acting, directing, technical design, playwriting and teaching methods. legends, myths, picture books, and novels. http://www.washingtonthespians.org/ind ex.php Education AATEhttp://www.aate.com legends, myths, (WATE) - http://www.washingtonthespians.org/index.p hp Page 11 of 49
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. GLE 6 7/8 9/10 11/12 Acting Techniques/Skills 1.2.3 Movement Voice Character Development Improvisation 1.2.4 Creates a character that can identify tactics to overcome obstacles and achieve objectives within a script. Generates tactics the character may use to overcome obstacles to achieve objectives. Creates a character for a production. Portrays Jack (character) in Jack and the Beanstalk. Jack wants the giant s treasure (objective). The giant wants to eat Jack (obstacle). Jack is nice to the giant s wife to get the treasure (tactic). Creates objectives, obstacles and tactics based on given circumstances. Generates objectives, obstacles and tactics within an event for a specific character. Example: Improvises a scene in which a toddler wants a cookie before dinner and his parent has told the toddler that the cookie is for dessert after dinner. The toddler wants the cookie immediately and uses tactics such as promising to eat all of the dinner, pick up all the toys, is very kind to the parent, or cries. acting techniques, and design, playwriting and teaching methods. fables, folk tales, short stories, legends, myths, picture books, and novels. included in the appendix. (WATE) - Education AATE- http://www.aate.com Creates a character that uses tactics to overcome obstacles and achieve objectives within a script. Builds a character that uses tactics to overcome obstacles to achieve objectives. Develops a character sustained throughout a production. Objectives: Paris wants to marry Juliet. Obstacles: Juliet does not want to marry Paris. Juliet loves Romeo. Tactics: Paris asks Juliet s father for permission to marry Juliet without asking Juliet. Objectives: Jack wants to restore the wealth of his family. Obstacle: The giant is guarding the wealth. Tactics: He takes back a bag of gold; he takes back the goose that lays the golden egg; he is nice to the wife; he tricks the giant; he hides from the giant; he takes back the harp and he runs away. Applies understanding of objectives and tactics to overcome obstacles for character development. Sustains a character that works towards an objective using tactics to overcome any obstacles. Paris never gives up his love for Juliet, even to visiting her tomb after her death. He loses his life because of his love for her. Jack never gives up the quest to restore the wealth of his family, despite hard times, dangerous circumstances, and his mother s concern. acting techniques, and improvisation, acting, directing, technical including plays, poetry, nursery rhymes, picture (WATE) - Education AATEhttp://www.aate.com Analyzes script to identify character objectives, obstacles, and tactics. Examines the script and selects multiple character objectives and tactics to overcome obstacles. Objectives: The Friar Lawrence has the following objectives as written in the script: he wants to make Romeo happy; he wants the two feuding families to stop fighting; he wants to keep the marriage of Romeo and Juliet a secret; he wants to help Juliet to avoid marrying Paris; et al. Obstacles: The church; the Prince; the families; his conscience; the actions of others, etc. Tactics: He lies; he uses a potion to put Juliet to sleep; he secretly marries Romeo and Juliet; he sends word to Romeo when Romeo is banished; he is complicit in Juliet s deception that she is not married; etc. Creates a character based on the given circumstances. Develops and performs a character based on given circumstances. The student actor portrays Juliet as a13-year old young girl who is naive and inexperienced in the world, easily manipulated by the men in her world who have the control, and she is intrigued and attracted to the danger that exists in that man s world. She wants the same power and dominance that the men have. She is brave. She is willing to leave everything in her protected and controlled life, to marry Romeo. She is rebellious for this time period and Elizabethan Cosmology. (Given circumstances is information from the script, as well as the world and time period in which it was written, the life story of the author, inspirations of the time, commonly held beliefs of the people, etc.) acting techniques, and technical improvisation, acting, directing, technical including plays, poetry, nursery rhymes, picture books, and novels. (WATE) - Evaluates character development in a Justifies choices of objectives and tactics to overcome the obstacles. Justifies personal choices in character development. The actress playing the nurse justifies her character s objective of making Juliet wait to hear the news of Romeo to ensure her continued authority over Juliet because Juliet is becoming an adult. Creates a three-dimensional character with multiple objectives with layered emotions. Constructs a three-dimensional character. Establishes a character with multiple objectives. Establishes a character with layered emotions. The actor playing the nurse discusses her aching bones; she tells stories about her day and deliberately withholds information about Romeo from Juliet. She is actually playing a game to tease Juliet and make Juliet wait to hear the news about Romeo. The nurse is more like Juliet s mother figure than Juliet s actual mother (Lady Capulet); however, the nurse perceives herself to be more like a friend and/or confidant. acting techniques, and improvisation, acting, directing, technical including plays, myths, (WATE) - Education AATEhttp://www.aate.com Page 12 of 49
Star Power Getting the Part Getting the Part Page 13 of 49
EALR 1 Theatre: The student understands and applies arts knowledge and skills in dance, music, theatre and visual arts. Component 1.2: Develops theatre arts skills and techniques. GLE K 1 2 3 4 5 1.2.6 Movement Voice Character Development Improvisation Applies prior knowledge of nonhuman and imaginary creatures in role-playing. Imitates movements and sounds of fish, animals, birds and imaginary creatures. Applies prior knowledge of human behavior within a role play. Imitates movements and language of familiar people. Creates a scene based on a given role and setting. Develops individual characteristics of familiar people within an event. Creates a scene with a relationship between characters in a given setting. Portrays relationships between familiar people within a given environment. Creates a scene with character objectives in a given setting. Generates objectives for a character within an event or setting. Creates a scene with objectives, obstacles and tactics used by a specified character in a given setting. Generates objectives, obstacles and tactics within an event for a specific character. Acting Techniques/Skills Role-plays an interpretation of a sea creature in the ocean. (Setting) Role-plays an interpretation of being a cat, dog, bird, dinosaur, etc. (Character) Demonstrates the interaction between fish in a school of fish, or an animal in a barnyard full of animals, etc. Imitates parents, teachers, policepeople, firefighters, doctors, nurses, principals, friends, siblings, etc. Dramatizes a parent planning a surprise party for their child. Role plays a teacher planning a field trip to a museum. Imitates the behavior of a senior citizen, toddler, royalty, etc. Role plays a shopper at a busy mall. Dramatizes a setting by choosing a role as a person, place or thing, such as a beach scene. Dramatizes a family at a picnic. Role plays a group of fishermen or fisherwomen out at sea. Portrays a group of friends playing a fun game on the playground. Dramatizes an actor on stage. Role plays an astronaut just before lift off of a spaceship adventure. Portrays a cast-a-way or pirate on a deserted island. Improvises a scene in which a toddler wants a cookie before dinner and his parent has told the toddler that the cookie is for dessert after dinner. The toddler wants the cookie immediately and uses tactics such as promising to eat all of the dinner, pick up all the toys, is very kind to the parent, or cries. legends, myths, http://www.washingtonthespians.org/inde x.php legends, myths, http://www.washingtonthespians.org/inde x.php legends, myths, http://www.washingtonthespians.org/inde x.php legends, myths, http://www.washingtonthespians.org/inde x.php legends, myths, http://www.washingtonthespians.org/inde x.php fables, folk tales, short stories, legends, myths, picture included in the appendix. (WATE) - Page 14 of 49