Lesson 5: Staging Identity

Critical Learning	Guiding Questions
The goal of this lesson is to work with pre-developed improvisational scenes and transform them into staged and polished performances. Thematic focus is on exploring self identity and personal experience as starting points for communication of self and of a collective (in this case the collective of "teen"). Students will develop their understandings of how identity is both individual and universal. Working with script writing will allow students to make connections between performance and identity.	Who am I? What is identity? How can I communicate identity through dramatic forms such as script? How do our experiences affect the communication of self identity? How can the identity of "teenager" be communicated and explored through the dramatic form of script?
Curriculum Expectations	Learning Goals
A1.1 develop interpretations of drama texts or other sources from a variety of Western and non-Western traditions as a basis for their own drama presentations A2.1 highlight selected elements of drama and subordinate others to achieve specific purposes A2.2 use a variety of drama conventions to establish a distinctive context or role in original or adapted works A3.2 use a range of techniques and acting approaches to refine performance during rehearsal B1.1 use the critical analysis process before and during drama projects to assign roles within the group, monitor the group process, and modify the roles and process as needed B1.2 analyse drama works to determine how they communicate ideas about issues, culture, and society B1.3 analyse and evaluate the aesthetic and technical aspects of drama works of diverse genres and styles B2.2 identify ways in which drama can influence personal growth, relationships with others, and aesthetic judgement C1.1 identify and describe the forms, elements, conventions, and techniques used in a variety of drama styles and explain how they help achieve specific purposes and effects C1.2 use correct terminology for the various components and processes of their own and others' drama works C3.1 identify and follow safe and ethical practices in all drama activities C3.3 demonstrate an understanding of correct theatre worker and audience etiquette in classroom drama work and formal performance contexts	At the end of this lesson, students will be able to create an original scene that communicates our own identities as teenagers communicate our own self identity and that of teenagers collectively connect stage work to the communication of identity make connections between self and others work safely and with proper etiquette within a group
Instructional Components
Readiness Lessons 1-4. Revisit the understandings about identity, individual and universal experiences, and the ways in which voices are heard and silenced, and how dramatic forms can be used to communicate identity learned in this unit. Terminology Revisit terminology from lessons 1-4. Creative Process Critical Analysis Process Mime Voices in the Head Anthology	Materials Written reflections on the improvised scenes in Lesson 4 Questions and answers from interviews in Lesson 4 Personal monologues from Lesson 4 A variety of drama blocks or other materials for set creation BLMs BLM#2 Artists' Statement Chart BLM#3 Performance Rating Scale

Approximately 20 minutes Minds On	Pause and Ponder
Whole Class > Reflection on Improvised Scenes Reflect back on the improvised scenes from Lesson 4. Key Questions for Discussion: What surprised you about the work you did in your scenes? What kinds of information were easy to share and what kinds of information were difficult? What allowed the more difficult and deeper identity information to come out in the scene? What did the writing at home allow you to look at that wasn't explored in the improvised scene? Whole Class > Artists' Statement Anchor Chart Identify the learning goals of the culminating task: groups will use use the feedback from their improvised scenes to develop a scripted scene performance. Work with students to develop an Artists' Statement Anchor Chart together. Identifying the key elements they will need to communicate in the scenes. Prompts: What do we want to have in the scene? What dramatic techniques could be used to achieve these goals? What goals are central to our scene work? Explain to students that this checklist will guide students in the choices they make and allow them to address those choices when they present their oral Artists' Statement to the class. Small Groups > Reflection and Review Give groups time to reflect on and review their notes and feedback from Lesson 4, using the feedback to decide what to include in their scenes. Have group members select two or three key character identity points that each of them will share in the scene. Have groups make initial script notes, including the reasons behind the choices made in their scene. This will be developed into an Artists' Statement for each scene presentation.	Assessment of Learning (AoL) Use BLM#1 Circles of Ourselves to evaluate students' scene performances. These performances could be staged readings or fully memorized scenes, depending on the length expectations, skills and the focus of the group. Assessment as Learning (AaL) Creating an Artists' Statement allows students to identify important aspects of the work and to focus on the theme included in their work. The Artists' Statement can be used to identify learning and understanding of choices made in artistic creation. By rereading and rewriting the first journal and participating in the Just a Minute conversations, students can review and reflect on their learning and gauge their growth in the unit. Differentiation (DI) Pair leaders in the class to act as directors for scenes. Connect groups who have made greater progress with those that have not to allow for 8 people scenes (modelling the work and integration of the two levels). Use technology to assist in writing and performance (e.g. script templates, word processing, use of video recording). Allow for written or oral Artists' Statements. Quick Tip Extend the activity by handing over a script written by one group to another group for performance. Adapt performance techniques to movement only, mime, voices in the head, tableau, story drama and other alternate conventions. Develop scenes into a whole class anthology focusing on the theme of identity. Link and Layer Post the Creative Process and Critical Analysis Process Charts in the classroom for students to reference as they work. Follow up in subsequent lessons or units to focus on use of writing in role to better understanding the identity of characters, groups, cultures, contexts and times. Link back to FNMI scripts from Lesson 2. Make connections between the ways in which those identities were presented and the ways in which students presented their own identities.
Approximately 70 minutes Action!
Small Group > Developing Script Instruct the groups to develop a scripted and staged version of their scenes using their notes and reflections to guide their writing. They will be creating two linked scenes for their culminating task: "The Detention" and "Where are They Now?" Instruct students to take phrases and ideas from both the improvisation, monologues and 10 years later writing pieces to incorporate into their scenes. Each scene MUST include at least two phrases from each character's monologue writing and the second scene must contain at least one key idea from the 10 years later writing. Remind groups that the focus is on communicating their own two or three key identities through a variety of drama conventions including but not limited to: thought tracking stepping out of tableau to speak to the audience breaking the fourth wall mid-scene monologues Inform students that the work should explore the individual characters as well as the collective voice of teens. Small Group > Creative Process Guide students through the stages of the creative process (experimenting and exploring, revising and refining, etc.) Offer feedback as necessary, using BLM#3 Performance Rating Scale to evaluate students. Have students apply the concepts of motivation and objectives by annotating their scripts with responses to questions such as "what do I want?" Have groups complete BLM#2 Artists' Statement Chart, which they will present and "defend" after their performances.
Approximately 50 minutes Consolidation
Whole Class > Performance, Defence and Evaluation Have groups perform their scenes and use BLM #3 Performance Rating Scale to evaluate their individual performances. Have each group share their Artists' Statement after each performance. Provide feedback opportunities for the audience to engage in critical analysis and questioning of performances. Encourage students to explore the themes, the performances and the choices used in writing and presentation. Key Questions for Discussion: What were some of the effective moments in this performance? What message is this group communicating? How do they communicate their message? What techniques are effective in furthering the themes and ideas in the piece? What techniques are effective forms of performance? What changes might you make to the piece if you were the director and why would you make these changes? Individual > Journal Writing As a final journal reflection, have students respond to Journal Topic A again. After students have done a rapid write on the question "Who am I," have them to compare their first journal entry and this one. Ask them to look for greater clarity and self-awareness in their writing. Whole Class > Making Connections Create anchor chart of the key identities they demonstrated about teens in their scripted scenes. Compare this list to the assumptions about First Nation, Metis and Inuit peoples from Lesson 1. Create a similar chart about teen identities with the following categories: What we think we know What we have questions about What we want to know more about Pairs > Just for a Minute > Talking About Two Identities (FNMI and Teen) Have students pair with someone who was not in their scripted scene, assign roles of A and B and stand face to face. Give each partner their speaking topic: Topic A: To be First Nations, Metis or Inuit means. . . Topic B: To be a teen means. . . Using a signal from the teacher, students will begin speaking at the same time as their partners. Explain to students the goal is to keep speaking on the topic for one minute without breaking up, answering the partner or responding to the partner. Remind students that they should attempt to stay on topic and keep eye contact with partner for the whole minute. Ask pairs to present their Just a Minute conversation to the class. Instruct pairs that you will touch the shoulder of one of the paired partners as a signal to stop talking so the partner and the class can continue to hear what the other partner is saying. Move back and forth between the speakers, allowing for a switch in voice between them. Invite other pairs to present their revisited Just a Minute conversations. Have students reflect about the experience. Prompt: What do they feel they were able to express in the activity now that they may not have been able to express at the beginning of the unit?