Appendix D: Evaluation Example

The following are Evaluation Example Topics for Grade 9:
Dramatic Genres
Family Grouping

Grade 9

Topic: Dramatic Genres

Expression and Trust

It is expected that students will:

• choose appropriate ways to express thoughts, feelings, and beliefs

It is expected that students will:

• make reasoned choices within the boundaries of the dramatic situation

It is expected that students will:

• use appropriate physical and vocal expression to enhance drama

It is expected that students will:

• use vocal and physical techniques to create role and character

It is expected that students will:

• identify effective dramatic forms for representing particular ideas and experiences

In this unit, the teacher introduced students to a variety of dramatic genres or forms such as the comic, tragic, and dramatic. At the completion of the unit, the students chose a genre or form, constructed a performance, and presented it to the class.

• The students participated in a variety of warm-up activities such as Fortunately/Unfortunately, Circle Story, Eye-to-Eye Argument. The teacher reviewed different methods of communication, and students chose one to express their beliefs or views on an issue. Students practised delivering a solo line with differing circumstances.

• Students performed movement and voice exercises to develop skills in physical and vocal expression. Students created Frozen Pictures to demonstrate how the body can be used for expression. Open-and-closed body-position activities and exercises addressed and built awareness of others. Vocal skills were developed through a series of exercises focussing on physical, technical, and emotional elements of the voice. Students worked collectively to show characters in a variety of different situations, using movement and voice to add dimension to the character.

• The teacher had three presentation groups improvise a series of seemingly real events that were comic, dramatic, and tragic. Students observed the performances and identified the specific characteristics, qualities, and elements of the form or genre.

• Students brainstormed conflicts they had recently experienced and discussed the feelings and emotions contained in the experiences. The class discussed the importance of drawing on these personal experiences in dramatic work.

• The teacher and students discussed the need for internal emotional intensity in the characters in order to elevate the dramatic work to the level of a drama. To further analyse the dramatic form, the teacher and students selected a scenario from a drama resource such as Death of a Salesman. Working in small groups, students chose scenarios, cast them, and dramatized conflict.

• The handsome young doctor arrives in Bay City.
• The rich wife refuses to recognize her drinking problem.
• Patricia or Patrick has a fatal illness.
• A shocking family secret is revealed.

• Film - The Outsiders
• Myth - Oedipus
• Poem - Richard Cory

Students selected one of the genres or forms studied, improvised or scripted the performance, and presented their dramatic works to the class.

Defining the Criteria

Expression and Trust

To what extent do students:

• express their ideas in an open, clear, respectful manner
• choose effective ways to communicate their ideas

To what extent do students:

• make vocal choices based on character
• use movements and voice to communicate the same meaning
• demonstrate fluidity in their movements
• combine speech and gestures to provide a consistent interpretation
• project their voices appropriately for the performance space

To what extent do students:

• create a role appropriate to each genre
• choose appropriate movement, gesture, and voice for the genre
• create characters who exhibit appropriate behaviours for the genre

To what extent do students:

• create works that contain a coherent, developed beginning, middle, and end
• communicate a clear purpose or theme in their work
• present detailed characters appropriate to a genre
• use a variety of ways to develop and reveal characters

To what extent do students:

• apply theatrical conventions in creating their characters
• use technical elements to enhance dramatic effect
• use conventions and elements that match the genre

To what extent do students:

• reflect on their choices and analyse their dramatic work
• make decisions and choices that match the genre
• communicate the intended meaning by choosing effective methods

The teacher used the performance scale shown on the facing page to assess and evaluate the studentıs performance.

	Developing	Maturing	Beginning
Expression and Trust	Student expresses ideas in a distinct manner having clearly thought them out. Presents ideas for others to consider and exam- ine in an open way. Is accepting and respectful of othersı ideas, and frequently builds on them. Considers the most effective way to communicate ideas given differing circumstances.	Student expresses ideas clearly. Presents in an open manner. Often incorporates and builds on othersı ideas. Respects differing ideas and points of view. Usually chooses effective ways to communicate.	Student expresses ideas but not always in a clear manner. Willingly presents own ideas. Is working toward considering and accepting othersı ideas.
Body and Voice	Vocal choices are effective and enhance the integrity of the character. Projection of voice is well matched to the performance space. The use of movements and gestures builds added dimensions to the character. Movements are very fluid and natural. Movements and voice complement each other, communicating the same message and creating an emotional impact.	Vocal choices are usually effective and match the character and genre. Projection of voice is appropriate for the performance space. Movements and gestures fit the character and contain the same message. Movement is fluid.	Vocal choices are sometimes effective. Little distinction between the actorıs and characterıs voice. Projection is not always consistent with the performance space. Movements and gestures usually fit the character but may seem stilted and stiff. The messages communicated through voice and movement may not always be congruent. Vocal choices are sometimes effective. Little distinction between the actorıs and characterıs voice. Projection is not always consistent with the performance space. Movements and gestures usually fit the character but may seem stilted and stiff. The messages communicated through voice and movement may not always be congruent.
Role	Role created is well suited to the genre. Movements, gestures, and voice are effective in enhancing the work and illuminating the character. The characterıs behaviour effectively represents the genre.	Role is suited to the genre. Movements, gestures, and voice are effective. The characterıs behaviour is usually representative of the genre.	Role is somewhat suited to the genre. Movements, gestures, and voice are not always effective. Characterıs behaviour does not always represent the genre.
Elements and Structures	Beginning, middle, and end are well developed and create a coherent work. Purpose or theme is clearly communicated through a detailed multidimensional character and appropriate actions and events. A variety of effective ways to reveal the character are evident.	Beginning, middle, and end are developed. Purpose or theme is communicated. Character is effectively developed and revealed through a limited number of ways.	Beginning, middle, and end are not always defined. Purpose or theme is not always clearly communicated. Character is not consistently developed throughout the work. Character is revealed through one primary way.
Technique	Uses theatrical conventions effectively to enhance and create an interesting character. Technical elements are used in a powerful way to create the desired effect.	Uses theatrical conventions to create a distinct character. Technical elements used create a desired effect.	Uses some theatrical conventions. Character is not always separate from actor. Technical elements do not always create the desired effect.
Critical Analysis	Student refines ideas and reflects on choices. Evidence of analysis and effective problem-solving strategies used. Decisions are effective in creating the desired effect in the work.	Student reflects on choices and is willing to refine ideas. Engages in analysis and uses some problem-solving strategies when making decisions.	Student reflects on choices on a superficial level. Is sometimes resistant to refining ideas. Makes decisions, but not always through analysis.

Grade 9

Topic: Family Grouping

Critical Analysis

It is expected that students will:

• make reasoned choices within the boundaries of the dramatic situation

It is expected that students will:

• move in and out of role appropriately
• create and sustain situations while in role

It is expected that students will:

• identify a variety of ways in which character is revealed
• identify and portray a characterıs objective within a scene

It is expected that students will:

• demonstrate responsibility to the group and self in rehearsal and performance

In this unit, the students examined the importance of relationships and the interaction of characters in dramatic works. They practised and developed characters and situations, and scenes in which the characters would react and interact. At the end of the unit, groups had the opportunity to present performances to the class.

• The students participated in warm-ups, trust exercises, and group co-operation activities such as Neighbours in order to establish an environment conducive to risk taking and dramatic work.

• Through group and individual practice, students developed their abilities to work in role with a full range of characters. Students worked collectively to show specific characters in a variety of different situations and to sustain their characters in improvisations. Students wrote simple dialogues with two series of contrasting subtexts, performed them, and improvised previous and future actions for the characters.

• Students worked in groups and created scenes based on randomly selected where, when, what (nature of the conflict), and who. Students practised moving in and out of role effectively, sustaining role safely, suspending disbelief during role drama, and responding to role drama both in and out of character. Students practised concentration in mastering a role and creating a character biography. The teacher provided assistance and ongoing feedback.

• Students viewed excerpts from a film that illustrated a variety of relationships. Students discussed the relationships in the film and how they were established with reference to subtext, symbols, silences, space, and touch. The teacher assigned students to family groups to create "their family," select characters, and create relationships among the characters.

• Students constructed individual webs to illustrate the qualities, aspects, and needs of their characters. They constructed a joint web to show the specific links in a family relationship and the needs of the characters. Students used role drama­a visit to an expert such as a counsellor, psychiatrist, or minister­to represent a major family issue or conflict.

• Students created Frozen Pictures representing family relationships. One member of each family introduced the other members of the family. Each family was interviewed, using a "talk show" format by the rest of the class and the teacher.

• Each family group prepared a brief improvisation of the family at home showing the relationships and dynamics within the family. One character had an obvious objective or need. In a subsequent scene, one character had a hidden objective (e.g., has been kicked out of school or has a personal problem). Students performed the improvisations demonstrating the skills they had acquired.

• Students were grouped with different families and given a new setting. They demonstrated how, in different circumstances, each of their characters would interact with characters from another family.

Role Drama

To what extent do students:

• choose behaviours and responses that suit the characters
• use behaviours and responses that support the dramatic situations
• separate themselves from the characters, reflect on, analyse, and re-establish character
• advance situations consistent with the characters and the charactersı objectives
• illustrate the vocal and physical aspects of the characters:
  • vocal­rhythm in dialogue, pitch, suitable vocabulary, tone of voice
  • physical­walk, posture, gestures, fluidity
• contribute ideas and strengths
• support others

To what extent do students:

• choose behaviours and responses that suit the characters
• use behaviours and responses that support the dramatic situations
• separate themselves from the characters, reflect on, analyse, and re-establish character
• advance situations consistent with the characters and the charactersı objectives
• illustrate the vocal and physical aspects of the characters:
  • vocal­rhythm in dialogue, pitch, suitable vocabulary, tone of voice
  • physical­walk, posture, gestures, fluidity
• maintain primary objectives until they are achieved or resolved
• sustain primary objectives while pursuing secondary objectives
• contribute ideas and strengths
• support others

The students were evaluated on the role drama, the family improvisation, and the family group performance. In each case the following scales were used.

Role Drama

Behaviours and Responses that Suit the Character
3­ Selects mannerisms, gestures, and interactions in a way that brings a sense of realism to the character.

2­ Selects mannerisms and gestures, and begins to interact with the other characters, although is somewhat "wooden."

1­ Uses own personal mannerisms, gestures, and interactions rather than those of the character.

Behaviours and Responses that Support the Dramatic Situation
3­ Reactions to changing dramatic situation are consistent with the character and advance the dramatic situation.

2­ Reactions are consistent with the character and advance the dramatic situation; adjustments to changing circumstances are stilted.

1­ Reactions are not always consistent with character; fails to react to changing dramatic situations.

In and out of Role
3­ Is able to separate from character and to reflect and analyse while performing, thus creating a fully developed character.

2­ Is able to separate from character and to reflect and analyse the process, but the refinement of the character is limited.

1­ Loses self in the character and the moment and is not able to refine the character based on reflection.

Advancement of the Situation
3­ Advances the situation consistent with the character and reacts and adjusts to the situation, being aware of the nuances inherent in the scene.

2­ Advances the situation usually consistent with the character; reactions tend to be predictable.

1­ Maintains the existing situation and rarely reacts to changes in the scene.

Vocal and Physical Aspects
3­ Effectively creates a distinct, multidimensional character revealing vocal and physical qualities suited to the role (vocal­rhythm in dialogue, pitch, suitable vocabulary, tone of voice; physical­walk, posture, gestures, fluidity).

2­ Attempts to create distinct vocal and physical qualities suited to the role.

1­ Uses own vocal and physical qualities, imposing them on the character rather than adapting to the character.

Contributions
3­ Enthusiastically offers ideas and suggestions; takes a leadership role within the group.

2­ Enthusiastically offers ideas and suggestions.

1­ Reluctantly offers ideas and suggestions.

Support of Others
3­ Encourages, gives constructive feedback, is able to motivate others, uses the ideas of others, listens attentively, accepts and respects others.

2­ Encourages, listens attentively, gives constructive feedback, accepts and respects others.

1­ Encourages like points of view, is working toward active listening.

Family Improvisation and Family Group Performance

Behaviours and Responses that Suit the Character
3­ Selects mannerisms, gestures, and interactions in a way that brings a sense of realism to the character.

2­ Selects mannerisms, gestures, and begins to interact with the other characters, although is somewhat "wooden."

1­ Uses own personal mannerisms, gestures, and interactions rather than those of the character.

Behaviours and Responses that Support the Dramatic Situation
3­ Reactions to changing dramatic situations are consistent with the character and advance the dramatic situation.

2­ Reactions are consistent with character and advance the dramatic situation; adjustments to changing circumstances are stilted.

1­ Reactions are not always consistent with character; fails to react to changing dramatic situations.

In and out of Role
3­ Is able to separate from character, reflect, and analyse while performing, thus creating a fully developed character.

2­ Is able to separate from character, reflect, and analyse the process, but the refinement of the character is limited.

1­ Loses self in the character and the moment and is not able to refine the character based on reflection.

Advancement of the Situation
3­ Advances the situation consistent with the character and reacts and adjusts to the situation, being aware of the nuances inherent in the scene.

2­ Advances the situation usually consistent with the character, reactions tend to be predictable.

1­ Maintains the existing situation, and rarely reacts to changes in the scene.

Vocal and Physical Aspects
3­ Effectively creates a distinct, multidimensional character, revealing vocal and physical qualities suited to the role (vocal­rhythm in dialogue, pitch, suitable vocabulary, tone of voice; physical­walk, posture, gestures, fluidity).

2­ Attempts to create distinct vocal and physical qualities suited to the role.

1­ Uses own vocal and physical qualities, imposing them on the character rather than adapting to the character.

Maintenance of the Primary Objective
3­ Resolves primary objective while sustaining and developing the character.

2­ Resolves primary objective.

1­ Works toward resolving primary objective.

Pursuit of Secondary Objectives
3­ Simultaneously integrates both primary and secondary objectives during the improvisation.

2­ Pursues primary and secondary objectives but not always in an integrated fashion; tends to be stiff.

1­ Concentrates on one objective to the exclusion of the others.

Preparation
3­ Mentally and physically prepared to work, is focussed on task, and comes with all necessary supplies.

2­ Usually focussed and comes with all necessary supplies.

1­ Has difficulty concentrating and remembering needed supplies.

Contributions
3­ Enthusiastically offers ideas and suggestions; takes a leadership role within the group.

2­ Enthusiastically offers ideas and suggestions.

1­ Reluctantly offers ideas and suggestions.

Support of Others
3­ Encourages, gives constructive feedback, is able to motivate others, uses the ideas of others, listens attentively, accepts and respects others.

2­ Offers constructive feedback, accepts and respects others.

1­ Encourages like points of view, is working toward active listening.

Table of Contents

Province of British Columbia
Ministry of Education
Standards Department İ 1995 Copyright

Maintained by: Fine Arts Coordinator - Drama

Revised: January 28, 1999

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