Grade 6 - Drama (2022)

Drama

Foundational Elements: Drama literacy is developed through knowledge and application of dramatic processes.

Creating and Presenting: Ideas can be represented dramatically through artworks that draw upon foundational knowledge

Appreciation: Recognizing beauty, goodness, and truth in drama can be developed by understanding the complexity and richness of great dramatic works, the artists who create and perform them, and the historical and cultural contexts from which they originate

Students associate voice with staging in the development of characters, roles, and situations.

Students express intention as an integral part of artistic expression in drama

Students relate change to historical events and the evolution of dramatic practices

Knowledge

Understanding

Skills & Procedures

Knowledge

Understanding

Skills & Procedures

Knowledge

Understanding

Skills & Procedures

A voice can be blended with other voices to create a distinguishable tone

Individual and collective use of voice requires adjustments in volume emphasis accent intonation breathing

Production of voice as an ensemble requires listening to each other for vocal pitch energy tone volume projection articulation pace phrasing

Balancing voices within an ensemble requires collaboration and compromise

Voice can begin with thought and breath and lead to verbal or nonverbal expression

Vocal expression can contribute to establishing the mood or setting of a dramatization

The mood in a drama refers to the overall emotional quality of a dramatic work

The setting in a drama can be a visual or auditory representation of the place in which the dramatic situation occurs

Intentional production and projection of the voice can communicate feelings, tension, and ease

The use of voice can evoke an emotional response from others, focus attention, or drive dramatic action

The voice can be used to make a character or situation more believable.

Voice work can include physical and vocal warm-ups.

By releasing inefficient vocal and physical habits, opportunities for the voice emerge

Vocal hygiene includes efficient projection of voice and voice production.

Vocal control requires awareness of body, breath, and release

When staging decisions have a purpose, an audience's experience can be enhanced

Staging includes technical elements, dramatic forms, and audience placement

The world of the performance can be created with technical elements, including blocking performers sound sets props costumes lights

Dramatic tension can be created through the combination of blocking and technical elements

There are nine areas of the stage: upstage right upstage centre upstage left centre right centre centre left downstage right downstage centre downstage left

The names of the nine stage areas originated from the structure of a raked stage, where the stage tilts toward the audience.

Downstage refers to the area closest to the audience.

Body positions, including full front, profile, and full back, can be used in conjunction with the nine stage areas.

Blocking is a performer's movement and positioning throughout the nine stage areas

A director can guide the movement of the performer(s) on stage

Voice is a powerful communication tool that can convey the uniqueness of an individual or ensemble.

The voice can communicate a performer's intention to the audience and other performers

The voice expresses personality, style, and character.

Voice work is physical and requires an awareness of body.

Staging is the overall design of a performance

Staging creates the world of the performance so that the audience can look in

Staging includes the planning and movement of performer(s) on stage

Discuss how drama experiences contribute to knowing when and how to use the voice appropriately

Use the voice in unison to communicate intention.

Evaluate the balance of voices within an ensemble

Extend vocal production to reflect character

Experiment with how the voice can establish mood or setting in a dramatization.

Examine how the voice can support the believability of a character or situation

Examine how the voice can be used to develop authentic characters and stereotypes

Evaluate the use of voice in the development of a character, setting, and mood

Discuss how inefficient vocal and physical habits can impede expression

Recognize the connection between body and voice in verbal expression

Participate in vocal and physical warm-ups.

Incorporate technical elements in a dramatization.

Respond to verbal cues that direct movement throughout the nine stage areas

Combine body positions and stage areas in the exploration of dramatic action

Discuss the advantages and disadvantages of blocking and staging choices.

Examine various forms of staging presented in live or recorded performances.

Structure and organization in a dramatic work can include story structure, with a beginning, problem, and resolution technical elements dramatic forms creating a plan for a dramatization blocking staging choices awareness of the audience points of view, such as firstperson, the audience, or a chosen character rehearsal and performance processes, such as the use of on- and off-stage areas

Directions for structure and organization can include cues, assigned roles, and use of stage areas

Dramatizations may be interpreted in a way that differs from what the performer intended

Dramatic expression can be created intentionally using the body and voice to communicate status, point of view, and perspective.

A character's intention, point of view, and status can be expressed through body and voice

A character's perspective, experience, and feelings can be intentionally portrayed in dramatic works.

A variety of stimuli can be used to focus intention, including images music poetry stories props artworks

A performer's artistic intention can be enhanced or refined by viewing, practising, and participating in drama activities

Communicating intention can involve creative processes, including decision making in the creation of a dramatization problem solving creative risk taking consideration and implementation of feedback reflection

Creative risk taking can include working individually or in groups trying unfamiliar or new techniques working outside of one's comfort zone

Intention becomes evident to the performer and audience when drama has structure and organization.

Intention refers to what a performer means to express

Intention can be linked to the purposeful creation, expression, or appreciation of drama.

A performer`s intention may emphasize process over product

Demonstrate how intention can be communicated through the structure and organization of a dramatization.

Devise a plan that outlines the requirements needed to rehearse and perform a dramatic work.

Demonstrate how to follow directions when working in a dramatization

Rehearse performances before presenting to an audience

Collaborate to solve staging or movement challenges in a variety of performance spaces

Participate as an audience member and as a performer in drama

Adjust body, breath, and voice to communicate intention.

Demonstrate how voice and body can be combined to represent a character, role, or situation

Practise sustaining a character's status, intention, or feelings.

Evaluate how adjustments made to the voice and body are appropriate for the ideas expressed

Respond to a variety of stimuli in the creation and exploration of dramatic expression.

Participate in drama activities that explore and challenge creative expression.

Take creative risks during the process of developing a character, role, or situation

Problem solve to enhance or refine the intention of a dramatization.

Evaluate the effectiveness of communicating intention in drama.

Describe how feedback was incorporated to clarify or enhance artistic intention.

Appreciation of drama as an art form can change with experience and inform future decisions about participation in drama

Appreciation can shape individual artistry, curiosity, and engagement in drama

Responses to and appreciation for drama can reflect personal preferences and perspectives

Drama vocabulary can be used when responding to and sharing opinions about dramatic works

Greek and Roman playwrights influenced the Enlightenment, including the works of Aeschylus, Sophocles, Aristophanes, and Euripid

Theatre connected the people of France to their culture and values during the French Revolution

Plays during the French Revolution communicated the ideas of freedom, equality, and brotherhood

The proscenium arch was used during the Enlightenment to create a "picture frame" for the audience to look through to create a sense of realism, as seen in The Royal Opera of Versailles

Before the colonization of the United States of America, the Indigenous people had rich and historical traditions of storytelling, which continue to be celebrated today.

Plays were banned in many areas of the United States during the revolutionary war in order to cut emotional ties to Britain

In western societies, women were allowed to act on stage for the first time during the 18th century.

Vaudeville was a popular American form of theatre that was valued for its light and comedic style

Vaudeville shows from the 1890s to the 1930s included short scenes, magic, contortionists, singers, and dancers

At the turn of the 20th century, American theatre focused on giving characters realistic qualities instead of stereotypical ones

Appreciation of drama can change through active reflection and experience with drama.

The way in which drama is understood and appreciated has changed throughout history.

Drama and storytelling traditions existed prior to the colonization of the United States of America, and evolved as more people arrived

Observe a variety of dramatic works

Use drama vocabulary when responding to or sharing opinions about dramatic works.

Explore the ideas of the French Revolution through dramatizations.

Discuss how theatre and drama can connect individuals to culture.

Examine Vaudeville as an inspiration for creating dramatizations.