THEA 4240: Teaching with Creative Drama

THEA 4240: Teaching with Creative Drama

Spring 2011 – Dr. Lorenzo Garcia

MW, 9-10:50 a.m. (RTFP 130)

Campus Phone: 565-2446

E-mail:

Office Hours: T – 2-3 p.m., Th – 10-11 a.m.

For questions related to course or schedule an appointment,

please call during office hours or email.

Required Texts

Sharon Grady. Drama and Diversity: A Pluralistic Perspective for Educational Drama.

Nellie McCaslin. Creative Drama in the Classroom. 7th Edition. (Mc)

Jim Patterson, Donna McKenna-Crook, & Melissa Swick. Theatre in the Secondary School Classroom. (methods & strategies)

Robert Taylor. Theatre: Art in Action.

Other Required Readings

Beth Doll, Steven Zucker, & Katherine Brehm. Resilient Classrooms: Creating Healthy Environments for Learning.

Cecily O’Neal. Drama Worlds. (process drama)

Augusto Boal. Theatre of the Oppressed. (an approach to theatre)

David Booth. Story Drama: Creating Stories Through Role Playing, Improvising, and Reading Aloud. 2nd ed.

Course Description

Comprehensive study and practical application of methods utilized in teaching with creative drama (also known as informal drama, process drama, or dramatic improvisation). Course integrates the content area of theatre with educational pedagogy. Theatre games, improvisation, story dramatization, thematic work, and teacher-in-role introduced and experienced. Emphasis on viewing creative drama as: a teaching methodology in classroom and recreational settings; an introduction to the art of improvised playmaking; and a rehearsal tool. Includes lecture/discussions, group facilitation, peer teaching, and off-campus classroom observations and practical work. Course of value to classroom teachers K-12, actors, directors, writers, and community service workers who view working with children and adolescents as part of career plan.

Course Objectives

1)To examine principles and current practices in the conduct of creative drama with youth.

2)To understand the teacher’s and/or workshop leader’s role in the classroom and studio.

3)To understand the role of creative drama in the education of children/adolescents.

4)To gain practical experience in facilitating creative drama in the classroom.

5)To demonstrate effective use of drama strategies by:

a)creating drama sessions with appropriate motivational material and structured playable action,

b)leading sessions and involving participants, and

c)evaluating sessions and participant learning.

Reflections on Dynamics of Teaching and Learning

You should also know that I believe strongly in a classroom climate that is highly interactive, participatory, and cooperative, one in which all of us assume responsibility for our own learning, where we pursue (or wait for) insights and truths actively and together. This means keeping up regularly with the readings and assignments and coming to class ready to be involved both intellectually and emotionally with questions and responses to the reading.

Finally, I believe that every living person is an artist, capable of interacting with the world in uplifting ways. I truly believe that if each of us strives to discover and experience our own artistry, we will tend to view ourselves and the world around us in a more positive light.

Other Information About Course Instructor

As the course instructor, I want to be as available to you as possible. You may contact me during office hours, during other school hours by appointment, and by email (refer to the top of the syllabus for office hours, office telephone number, and email address). I will be in during the office hours listed above unless I need that time to do a practicum observation or other work in area schools. You will notice that there are no office hours just before class since I use that time for class preparation.

Attendance Policy

You are expected to attend each class for the entire period. You have the syllabus and will be expected to keep up even if you miss a class. Active class participation is important, and you need to be in class to participate.

Regular attendance is expected. Starting with the 3rd absence (for whatever reason, your final point total will be reduced by 75 points. On the 4th absence, you will receive a failing grade. If you desire a "make-up" assignment to retrieve points, you will need to discuss the matter with me. I must approve the substitution and the point value.

Three late arrivals or "tardies" will count as one absence. Lateness falls into the category of "disruptive behavior," and is grounds for an administrative withdrawal from the class. Plan to be on time for each class meeting and performance. If you are 10 or more minutes late to class, I will still record the incident as an “absence.” I will consider you “late” if you arrive after I have completed the task of taking attendance. I will take attendance at the beginning of every class session.

Leaving class early without prior notice will result in an "absence." Leaving early is also disruptive and is grounds for administrative withdrawal from this class. If you leave the class 10 or more minutes before the scheduled dismissal, I will still record the incident as an “absence.”

In sum, poor attendanceand excessive tardiness will seriously affect your grade.

Grading Policy

Your creative growth and thoughtful responses to leading creative drama sessions in the classroom constitute the major focus of this class. Open discussion and deep involvement are essential. Your grade in the class will depend on the following:

1.Active involvement in the daily classwork.

2.Competent, disciplined work in class and during labs.

3.Thorough preparation for class and presentations.

4.Successful completion of assignments as assigned, with physical and vocal expression, and detail appropriate to the material.

5.Thorough preparation for sessions conducted with children/adolescents in mind.

6.Regular, faithful attendance.

7.Reliable, collegial interactions with classmates.

A point system will be used to determine your final course grade and your individual assignment grades. The final semester grade will appear in letter form, according to the UNT grading system (i.e., "A," "B," "C," "D," and "F").

1140-1200 points for an "A."

960-1139 points for a "B."

840-959 points for a "C."

720-849 points for a "D."

719 points or below results in an "F."

Assignments turned in "late" are reduced a full letter grade (10% plus one point). The in-class presentations cannot be made-up.

Paper assignments, such as response papers, may be reworked for a higher grade. This courtesy applies only if the assignment was handed in on its original due date.

Make-up and extra-credit assignments are due Wednesday, May 4, 2011 – 5:00 p.m.

List of Assignments

There should be widespread and shared engagement in the readings. I include formal testing (i.e., exams) and several formal writing assignments of varying lengths (from a paragraph to 2-3 pages), done both as individuals and perhaps in pairs or small groups (because I believe in the importance of learning how to learn collaboratively). Spelling, grammar, and neatness are important. Please type all assignments (double-spaced; 1-inch margins).

Focus: Facilitating Creative Drama

AssignmentMaximum PointsReceived Points

Project: Leading a Theatre Game

In-Class Presentation 15

You will lead the class in a theatre game or exercise that has a particular focus (physical or vocal expression). Refer to McCaslin, Taylor, and/or library/internet resources.

Summary Paper 10

Provide a one-page description of procedures that one follows to complete the game.

Focus: Promoting Artistic Excellence

AssignmentMaximum PointsReceived Points

Take-Home Exam #150

Must be typed, double-spaced.

Take-Home Exam #250

Must be typed, double-spaced.

Teaching Project #1: Teaching Acting or Tech Theatre

Checking in on TP#1 50

Working with a partner, be prepared to provide an oral summary of your instructional unit in 10 minutes or less. Class members will have the opportunity to ask questions and may provide comments, feedback, and suggestions.

Workshop Plan 75

Working with a partner, create a workshop plan. The plan must be 45-minutes in length, appropriate to the age level you plan to work with, and consist of a sequence of games or exercises that have a particular theatre focus—either on Acting (e.g., vocal expression) or an area/aspect of Technical Theatre (e.g., the functions of costumes). Finally, it must follow the format as specified by the instructor. The final copy of each workshop plan must be typed (double-spaced). Refer to syllabus for due date, and Taylor, Theatre: Art in Action.

In-Class Presentation 75

Come to class prepared and ready to lead class members in a creative drama session.

Final Reflections: The Workshop Study 50

You will analyze your in-class presentation of your workshop plan. The aims are to: 1) assess the impact of your instructional techniques on student learning, and 2) reflect on how you could improve the workshop and student learning.

Focus: Engaging in (Multi)Cultural Dialogue

AssignmentMaximum PointsReceived Points

Project: Reading Response – MIT75

Project: Reading Response – Gr, Ch 2 75

Project: Reading Response – Gr, Ch 3 75

Project: Reading Response – Gr, Ch 4 75

Project: Reading Response – Patterson, Chs 6 & 775

Teaching Project #2: Teaching Theatre History or Playwriting

Checking in on TP#2 50

Workshop Plan 75

Working with a partner, create a workshop plan. The plan must be 45 minutes in length, appropriate to the age level you plan to work with, and consist of a sequence of games or exercises that will focus on Theatre History or Playwriting. Finally, it must follow the format as specified by the instructor. The final copy of each workshop plan must be typed (double-spaced). Refer to syllabus for due date, and Taylor, Theatre: Art in Action.

In-Class Presentation 75

Come to class prepared and ready to lead class members in a creative drama session.

Final Reflections: The Workshop Study 50

Focus: New Directions/ Other Challenges

AssignmentMaximum PointsReceived Points

Final Project (2 options)

Option A: Assembling a Class Notebook 100

Option B: Assembling Electronic Portfolio 100

Final Exam (3 options)

Option A: Workshop in a School 100

Option B: Text Review 100

Option C: Life History Essay 100

Extra-Credit Assignments (each worth 25 points; max of 75 points)

-Personal Response Paper (2-3 pages in length, typed, double-spaced) on:

*any theatre production at a local elementary, middle, or high school

*any play presented at a UIL OAP Contest/Festival(see project description packet)

-Serve as adjudicator for a forensics tournament (exception - no essay)

-Response Paper – Grady, Ch 5 and/or 6 (refer to project description packet)

-Response Paper – Jobeth Gonzalez – Temporary Stages: Departing from Tradition in High School Theatre Education, Ch 1 (refer to project description packet)

-Response Paper – Toby Heathcotte – Stuff I Wish I’d Known: A Practical Guide, any single chapter (refer to project description packet)

-Classroom Observation Essay (see project description packet)

Class Participation/Attendance(subtract corresponding points or add 00)

Regular attendance is strongly encouraged. Attendance will be taken during each class session. In this class, an absence is an absence--plain and simple. ONLY OFFICIALLY SANCTIONED UNIVERSITY ACTIVITIES ARE EXCUSED. AND EVEN THOSE ARE EXCUSED ONLY WHEN A SPECIFIC PROCEDURE HAS BEEN FOLLOWED AND EXCUSED BY THE DEAN OF STUDENTS. On the third absence, your final total of points will be reduced by 75. On the fourth absence, you will receive a failing grade. If you desire "make-up" assignments to retrieve points, you will need to discuss the matter with me. Exams cannot be completed as make-up work.

TOTAL POINTS1200

Academic Adjustments in Compliance with the Americans with Disabilities Act

The UNT Department of Dance and Theatre Arts does not discriminate on the basis of disability in the recruitment and admission of students. The content of this class requires each student to: (a) actively participate in a safe manner and (b) spontaneously process visual and verbal cues. The student has the responsibility of informing the instructor of any disabling condition which will require modifications. If you have a disability and feel you are unable to meet the requirements of this class without reasonable accommodations, please contact the instructor to discuss your particular disability.

One Final Note

Please keep all graded papers until the end of the semester.

Course Schedule

Reading and written assignments are due on the day they appear on the schedule. Changes will not occur without due notice. If you are absent, check with your peers.

* signifies a hand-out distributed in class by instructor

** signifies an assignment due on a Friday, though this class does not meet on Fridays. This is my attempt to give you as much time as necessary for completion of challenging assignments.

MONDAY

WEDNESDAY

Jan 17
No class. MLK Day. / Jan 19
Focus: Facilitating Creative Drama
Topic:
Introduction to Course
Jan 24
Readings:
*Hand-out: Approaches to CD (Review)
Mc – Ch 1, CD-An Art, Socializing Activity
Patterson – Ch 9, Putting the Pieces Together
Topics:
Defining Creative Drama
Approaches to CD
Building Ensemble
Challenges of Group Process/Improvs / Jan 26
Readings:
*Hand-out: Kase-Polisini – Theatre Games
Mc – Ch 4, Movement & Rhythm; Ch 5, Pantomime; Ch 6, Improv
Thea: Art in Action (overview) – Table of Contents
Proj Descriptions Pkt, 2-3
Topics:
Theatre Games and Their Purposes
Explanation of Proj: Leading a Thea Game
Jan 31
Readings:
Mc – Ch 2, Imagination; Ch 3, Play
*TEKS, *Spiral Curriculum, *Nat’l Stds
*Handout: Booth – Ch 1, Building a Storying Community
Topics:
Story Drama – An Example
Strategies for supporting story drama
Leading Improvs Based on Literature
Defining Imagination, Pretend Play
Reviewing “linear” methodology
The Facilitator’s Abilities / Feb 2
Readings:
Patterson – Ch 1, Nat’l Theatre Standards
Grady-Appendix
Mc – Ch 8, Dramatic Structure; Ch 9, Building Plays from Stories; Appendix A & C
Thea: Art in Action – Acting/Tech Th
Proj Descr Pkt, 18 (Take-Home Exam)
Topics:
Story Drama - Continued
Concepts related to acting/tech thea
Assignments:
Project: Leading a Theatre Game
--In-Class Presentation
--Sum Paper
Feb 7
Readings:
*Hand-out: Approach to Process Dr (O’Neill)
*Hand-out: Making Learning a Dramatic Exp
(Smith & Herring)
Proj Descr Pkt, 4-10 – TP #1
Topics:
Process Drama – An Example (Rose Blanc)
Comparing Linear/Holistic Methodologies
Explanation of TP#1
Designing a Workshop Session – Brainstorming
Distribute TAKE-HOME EXAM #1
Suggested Reading:
Neelands & Goode, Structuring Drama Work / Feb 9
Focus:Promoting Artistic Excellence
Readings:
Mc – Chapter 13 – CD & Storytelling
*Doll – Ch 1, Intro to Resilient Clsrm; *Ch 2, What are resilient classrooms?
Patterson – Ch 2, Planning
Topics:
Who is in the classroom?
Promoting Artistic Excellence while
Promoting Resiliency?
Critiquing Workshop Plans
The Art of Storytelling
Be prepared to choose teams for TP#1 today!
Feb 14
Readings:
Patterson – Ch 3, The T in the Clsrm
*Doll – Ch 3, Relationship Characteristics of Resilient Classrooms
Mc - Ch 11, Poetry
*Hand-out: Christensen - Poetry
Topics:
Conceptions of “Culture”
Defining Diversity Education
The Concepts of Micro- vs Macroculture
Resiliency & Theatre?
Theatre Routines & Practices That Strengthen Student/Teacher Relationships?
And, Effective Peer Relationships?
Distribute TAKE-HOME EXAM #2
Assignment: Take Home #1
Suggested Reading:
Noddings – The Challenge to Care
Jennifer Fell Hayes & Dorothy Napp Schindell – Pioneer Journeys: Drama in Museum Educ
Saldana – Drama of Color
Joan Lazarus – Signs of Change,Ch 3, Socially Responsible Practice / Feb 16
Readings:
*Hand-out: Augusto Boal Readings
*Hand-out: Approaches to CD (Review)
*Hand-out: La Llorona (Weeping Woman)

Patterson – Ch 4, Assessment

Mc – Appen B (st eval)
Topics:
Playing out the story, La Llorona
Intro to Boal’s Image & Forum Theatre
Promoting Excellence, Diversity & Resiliency
Suggested Reading:
Boal – Games for Actors & Non-Actors
Boal – The Rainbow of Desire: The Boal Method of Theatre & Therapy
Boal – Theatre of the Oppressed
Michael Rohd – Theatre for Community, Conflict, & Dialogue: Hope Is Vital Training Manual
Feb 21
Readings:
Mc – Ch 7, Puppetry & Mask-Making
Mc – Ch 10, Other Sources
Mc – Ch 12 – Speech/Reader’s Theatre
Topics:
An Intro to Puppetry – An Example
Alternative Spaces
New Directions/Other Challenges
Mini-Work Session on TP #1
Bring materials to class
Assignment: Take Home #2
Suggested Readings:
The Stage & the Schoolby Schanker
Theatre Collaborative Acts by Wainscott & Fletcher / Feb 23
Readings:
Thea: Art in Action – Acting/Tech Th
Mc – Ch 19, CD in Alternative Spaces
Mc – Ch 20, The After-School Drama Program
Mc – Ch 21, A Final Word
Proj Desc Pkt, 11
Topics:
CD in Various Venues
Mini-Work Session on TP #1
Bring materials to class
Assignment:

Checking in on TP #1

(bring materials; have something to share)
Feb 28
TP#1 – Acting/Tech Thea
Assignments:
--In-Class Present
--Wkshp Plan
Teams 1-2 / Mar 2
TP#1 – Acting/Tech Thea
Assignments:
--In-Class Present
--Wkshp Plan
Teams 3-4
Mar 7
TP#1 – Acting/Tech Thea
Assignments:
--In-Class Present for TP#1
--Wkshp Plan
Teams 5-6 / Mar 9
TP#1 – Acting/Tech Thea
Assignments:
--In-Class Present
--Wkshp Plan

Teams 7-8

**Friday, March 11
Assignment:
TP#1: Final Reflection: Wkshp Study due by 5:00 p.m.
PLACE IN MAILBOX IN RTFP 242
Mar 14
SPRING BREAK
NO CLASS / Mar 16
SPRING BREAK
NO CLASS
Mar 21
Focus:Engaging in (Multi)Cultural Dialogue
Reading:
*Hand-out: Multiple Intelligences Theory
Proj Descr Pkt, 12-17 – TP #2
Topics:
Reflecting on TP #1
Multiple Intelligences and Theatre?
Overview of Project: TP #2
Assignment:
Proj: Reading Response on MIT
(specific questions – see packet) / Mar 23
Readings:
Grady – Preface; Ch 1
Grady – Ch 2, Racial & Ethnic Orientations
Topics:
Defining Pluralistic Perspective
Connection – diversity and theatre?
“Teacher” & “Artist” in a Pluralistic Society
Anti-racist Theatre Education
Assignment:
Proj: Reading Response on Grady – Ch 2
(see packet)
Mar 28
Reading:
Grady – Ch 3, Class-Oriented Locations
Topic:
Class Distinctions & Theatre
Assignment:
Proj: Reading Response, Grady – Ch 3
(see packet)
Be prepared to choose teams for TP#2 today! / Mar 30
Readings:
Mc – Ch 15, CD for the Special Child
Grady – Ch 4: Gender Reorientations; Postscript
Topic:
Gender in the Theatre Classroom
Assignment:

Proj: Reading Response on Grady – Ch 4