Introduction - Film and Television 11 and 12

Organizing for Instruction

• Vary instructional approaches and activities to address different levels of experience with, access to, and confidence with technology, equipment, and performance.
  
• Establish an accepting and co-operative atmosphere in which students feel safe and free to take risks.
  
• Inform students about classroom management policies and expectations regarding their work in performance, rehearsal, video shoots, or editing.
  
• Inform students about expectations specific to the class, such as the need to share equipment and leave it in good running order for the next user.
  
• Explain to students the importance of planning ahead in order to address the constraints of equipment access and class time.
  
• Ensure that students have a broad range of experience with performance, scriptwriting, and production, as well as time for in-depth work in a particular area.
  
• Include opportunities for students to learn strategies for updating their knowledge, and opportunities for students to experience emerging technological processes and equipment.
  
• Integrate drama projects with other curricular and extra-curricular activities in the school.
  
• Look for opportunities to share materials and resources with other departments.
  

Responding to Drama

Developing students' skills as members of an audience and as discriminating observers is an important part of any drama program. The viewer's responses are influenced by cultural perspective, associations with artistic components in the work, knowledge of the type of production in general, knowledge of the particular director or actor, and the context in which the work was created. Teachers can enhance the meaning students derive from responding to dramatic works by guiding them through the experience.

In order to observe theatrical productions and film and television images thoughtfully and in a discriminating manner, students should learn to:

• withhold their judgments until they have enough information to respond in an informed manner
  
• probe beyond their initial reactions in order to come to an understanding of what they have seen and how it was created
  
• provide support for their personal responses
  

Class discussion provides opportunities for students to understand that the same film or television production may mean different things to different people.

Students may respond:

• on an emotional level — to the feelings evoked by a work of art
  
• on a contextual level — to associations of past experiences with the artwork or with images in the work
  
• on an intellectual level — with a formal analysis or an interpretation of an artwork
  

The steps suggested in the Responding to Drama chart on page 9 may help teachers structure formal response activities. When considering the information on the chart, note also that it is entirely appropriate for students to have an intuitive response to a work without always having to attribute an analytical qualification.

Sensitive Issues

The study of drama can involve issues and topics that may be of special concern to some students or their parents or guardians (e.g., religious contexts, human sexuality, social pressures on adolescents, standards of personal behaviour). The following guidelines should be considered before beginning instruction in a new, unfamiliar, or potentially sensitive area of study:

• Obtain appropriate in-service training, or consult with those in the school who have relevant expertise (e.g., a counsellor).
  
• Know district policy and procedures regarding instruction involving sensitive issues (e.g., policy for exempting students from participation in classroom activities).
  
• Obtain support from the school administration.
  
• Inform students of the objectives of the curriculum before addressing any sensitive issues in the classroom, and provide opportunities for them to share the information with their parents or guardians.
  
• Avoid dealing with controversial issues until class members have had enough time together to become comfortable with each other and to have learned an appropriate process for addressing those issues.
  

Teachers are especially encouraged to consult with administrators and district personnel on the topic of touching. Instruction in drama frequently involves touching (e.g., to help students achieve correct postures or to develop trust). However, physical touch can be problematic in the public school system where teachers feel particularly vulnerable to misunderstanding and public censure. In addition, students who have experienced physical or sexual abuse, or whose cultural practices do not include touching by people who are not relatives, may respond negatively to touching in the context of a drama class.

When establishing guidelines for the use of touch in drama classes, teachers and administrators may wish to consider the following points:

• Talk to students about the need for touching as part of various dramatic portrayals and of its use as an instructional technique that can help them in their drama learning.
  
• Demonstrate on your own body frequently so students will be aware that this is one of your teaching tools.
  
• Ask students for their permission before touching them.
  
• Touch briefly, using the back of the hand, the flattened palm, or the fingertips.
  
• Never touch a student correctively unless others are present and watching.
  
• Where possible, stop short of touching, and mime the action parallel to the student's body.
  
• Learn to read students' nonverbal cues. Let students know that they can talk to you privately if touching makes them uncomfortable.
  

Issues may arise in drama classrooms that were not intended. In preparing for sensitive issues that might come up, teachers may wish to consider the following points:

• Know the relevant provincial policy and legislation related to matters such as disclosure in cases of suspected child abuse.
  
• Know the warning signals for eating disorders, suicide, and child abuse (e.g., excessive perfectionism, compulsive exercising, depression, very low or high body weight).
  
• Inform an administrator or counsellor when a concern arises.
  
• Establish a classroom environment that is open to free inquiry and to various points of view.
  
• Preview videos and set Internet guidelines for student access to sensitive material.
  
• Promote critical thinking and open-mindedness, and refrain from taking sides, denigrating, or propagandizing.
  
• Know district policy regarding the rights of individuals and the need for permission when students are videotaping, filming, photographing, and recording. Establish a procedure for filing any necessary release forms.
  

Creating a Safe Learning Environment

Safety concerns include the safe use, storage, and handling of potentially hazardous materials and equipment. To ensure a safe learning environment, it is essential that teachers address the following questions prior to, during, and after an activity:

• Have students been given specific instruction about how to use the facilities, materials, and equipment appropriately? Do they fully understand the instructions?
  
• Are the facilities and equipment suitable and in good repair?
  
• Is the equipment secure when not in class use?
  
• Are students aware of the location of power switches and fuse boxes?
  
• Do students know the maximum wattage for electrical AC cables, power outlets, and circuits?
  

In addition to physical safety, teachers should consider the emotional safety of students when planning a drama program. Be sensitive to individual students, and be prepared to respond to unique situations and to develop creative strategies to deal with rivalry, stress, stage fright, and so on. Teachers should also be aware of activities that may cause emotional or psychological stress for individual students (e.g., public performances, performance tests) and be prepared to offer alternative strategies as necessary.

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