Lesson 4: Digging Deeper: Subtexts

Drama

 B1.1 Creating and Presenting: engage actively in drama exploration and role play, with a focus on examining multiple perspectives related to current issues, themes, and relationships from a wide variety of sources and diverse communities

Drama

I can:

• use "Role on the Wall", "I Am Scripts" and "Voices in the Head" to understand and empathize with different characters
• consider public versus private voices, thoughts and feelings through drama exploration

Dance 

Dance

I can:

• express ideas and emotions through movement

Language

Oral Communication 2.3: communicate orally in a clear, coherent manner, using a structure and style appropriate to both the topic and the intended audience

Oral Communication 2.4: use appropriate words, phrases, and terminology from the full range of their vocabulary, including inclusive and non-discriminatory language, and a range of stylistic devices, to communicate their meaning accurately and engage the interest of their intended audience
 

Writing 2.2 establish a distinctive voice in their writing appropriate to the subject and audience

Language

I can:

• integrate voice and movement gestures in the sharing of "I Am Scripts"
• listen and respond spontaneously to others in an improvised role play scenario
• use a range of vocabulary in speaking and writing to engage the audience of my monologue and Hot-seat interview

chart paper and markers
BLM #5 "I Am" Script Template (class set of photocopies) 
BLM #6 Voices in the Head Script (1 photocopy per group)
BLM #7 Voices in the Head Rubric (1 per student) 
TV & VCR or projector
optional: CD player and CD of melancholy music

Small Groups > Role On The Wall: Inner and Outer Voices

Divide the class into four groups  and assign each group a character: Trey, bully, bystander or ally. Explain that the students are to view the video of Trey's story a second time, and that they will then use the information from the video and from yesterday's movement exploration and hot-seating activity to further develop their assigned character. After viewing the video, give each group chart paper or mural paper and ask them to draw a large figure to represent their character. On the inside of the figure, direct students to record the inner thoughts, feelings, and motivations of this character (e.g., I feel ...; I want....; I wish...).  Outside of the body shape, have them write the words & actions that we might expect to see and hear from this character in a bullying situation (e.g., Leave me alone; Do what I say; Stop!). When they are finished, have each group present some examples from their role on the wall, and invite questions or comments regarding the activity.

Share an observation, based on the role on the wall character representations, that what people feel on the inside can be different than what is expressed on the outside, and vice versa. Inform the class that this lesson will focus on "interior monologues" and "subtext" (the hidden or unsaid thoughts that motivate a character's actions).

Pre-lesson Preparation:

Have the Childnet International Video from last class ready for viewing.

Photocopy BLMs #5, 6, and 7

Individual > "I Am Scripts" In Role As Trey

Explain that the class is going to explore the inner life of the character of Trey, by composing and performing a collective inner monologue script. Provide each student with a hand-out of  BLM#5, and ask them to complete five "I am" sentence stems, in role as Trey.

Once completed, invite the students to mill about the room exchanging their worksheets, and reading aloud each "I Am Script" that they receive. On a signal, ask students to freeze and silently read the script in their hands. Ask students to select one line that particularly resonates for them. Direct students to memorize that line, and in a private corner of the room, practise saying their line (e.g., loud, soft, fast, slow) with an accompanying gesture (e.g., strong and forceful, light and free, large, small).

Assemble the students in a circle, and ask them to stand in a neutral position. Explain that this activity is a way to collectively and theatrically reveal the inner private life of Trey's character. Invite students one at a time, to share their line and accompanying gesture, and then return to neutral position, revealing only an external front of neutrality.

Small Groups > Voices In The Head

STEP 1: Monologues: Public Voice/Inner Voice

Divide the class into groups and assign them them one of the roles on the wall to review. Give each group a copy of  BLM #6 Voices in the Head - Script Template. Using the "Role on the Wall" representations and their own ideas, ask each group to think of three public statements that their character might make and to record these on the worksheet.

Once they have composed three public statements, ask them to try to get inside the head and heart of their characters, to understand why s/he would make such a statement. Note that as they discovered in the role on the wall exercise, sometimes there are private, inner  thoughts and feelings that cause people to act a certain way - these are called an "interior monologue" or "subtext".  Tell them that for each public statement they wrote, they need to compose one private, inner statement.  Have them add these new statements to the worksheet. (Each group should have 6 statements in total: 3 public statements and 3 related private statements).

STEP 2: Dialogues: Public Voice/Inner Voice

Tell the students that they are now going to use these statements as a base from which to dialogue with the other characters.  In their groups, ask them to decide on one person who will act as the public voice of the character, reading the prepared public statements, and improvising new ones. Tell the remaining group members that they will draw from the prepared private statements, and make up new ones as they go, to share the interior monologue of the character. Ask the four "public voice" characters to stand in a square formation, facing in towards one another. Have all other "inner voice" group members clump behind their leader.

Explain that the bully character will begin by speaking the first public statement, which is then followed by the related inner statement spoken by another group member. In response, the target speaks public statement number one, and one of his/her group members echoes with the inner  statement. This is repeated by the bystander and ally group. Let the four groups, always initiated by the same "public" speaker, continue to cycle around. Encourage them to improvise new public and inner statements in response to the other characters. 

Observe what types of conflicts arise between the characters, as well as how these are either escalated or negotiated. Encourage students to explore how they can use their voices (i.e., pitch, volume, speed, tone, pause for effect, repetition and accent, if appropriate) as well as their bodies (i.e., posture, gestures, facial expression) to effectively convey their lines and portray the character. 

For student reference, post on chart paper the ways that voice and body can be used to enhance spoken text. Depending on how the dialogue is developing, you may choose to have everyone pause for a moment to discuss some of this feedback, and then delve back into the exercise. Also feel free to switch which four students are acting as the public voices.  

Optional: You may set enhance the atmosphere by dimming the
lights and playing some soft instrumental music in the background.

Use the BLM #7 Voices in the Head Rubric to assess students' understanding of interior monologue.

Assessment for Learning 

(AfL)

Use Appendix B: Observation Tracking Sheet to record anecdotal observations.

Observe and make anecdotal notes while students plan, rehearse and perform to assess their understanding of interior monologue and character motivation.

Collect the monologue drafts for further insight into student progress.

Assessment for or of Learning (AfL or AoL)

Use BLM #7 Voices in the Head Rubric to provide specific feedback to students. Alternatively, you may choose to evaluate students if this is a technique they are very familiar with.

Differentiated Instruction (DI)

Based on student comfort and experience, you can have them write and perform their poems and monologues alone, with a partner, or in small groups.

Critical Literacy Focus (CL)

Exploring and writing in role provide opportunity for exploring and understanding diverse points-of-view and situations.  Both role play and writing in role can help students experiment with identity and representations of characters.  

Hyperlinks

Childnet International Cyber Bullying Video(6.5 min)
https://www.youtube.com/watch?v=fNumIY9D7uY

See the glossary in  the Arts curriculum for definitions of role on the wall, writing in role, voices in the head and other drama conventions.(pp166-174)

https://www.edu.gov.on.ca:443/eng/curriculum/elementary/arts18curr.pdf

Definitions:

Interior Monologue: a drama convention; speech by one character that provides us with insight into his/her character
 

Neutral Position: a body position in which a person stands in a relaxed position with arms at the sides, head slightly bent downward and eyes cast downward

Individual > Writing In Role: Monologues 

Explain that they are going to write a short monologue, in role as the character that they explored throughout the class today. Ask them to imagine that it is very late at night, and they are unable to sleep as they are feeling troubled by the recent series of events. They have decided they must speak to someone in the morning and are preparing what they will say by writing it down and rehearsing it. Ask the students to consider the following:

Prompts: (post on the blackboard)

Give the students time to compose a rough draft of their monologues, which they will return to in the next class.

Using the ETTC "Instant Poetry Forms" website (or a similar "poem generator" website), students can easily type in the prompted text fields for the poetry form "I Am" (scroll down list on the left) and print off their poems:
http://ettcweb.lr.k12.nj.us/forms/newpoem.htm