Junior/Intermediate

This game demonstrates how to use levels on the stage to help with blocking/stage direction can introduce the importance of concentration in role and risk-taking and will also help students develop their sense of what’s appropriate and what’s not in improvisation.

Overview

Pre-requisite Knowledge  

This is an improvisational game, so some experience with risk-taking and staying in character are essential. 

Focus

This is a game which can be played by 3 students in groups independent of one another, or shared by 3 students in front of the larger group.  This game deals with physical levels, so it is a helpful exercise to demonstrate how to use levels on the stage to help with blocking/stage direction. This game can also be used to introduce the importance of concentration in role and risk-taking.  It will also help students develop their sense of what’s appropriate and what’s not in improv.

Overall Expectations:

-demonstrate an understanding of the principles involved in the structuring of works in drama and dance; (Grade 5 and 6)

- evaluate the overall effect of various aspects of drama and dance (i.e., elements, principles, techniques, style) (Grade 7 and 8)

Materials and Resources

An open space, a chair or block (something to help students understand levels).  Paper and pencil for a reflection after the lesson (optional)

Special Notes

It is important to consider that not all students enjoy performing or being put in a hot seat: this game is performance driven, and the right to pass should be in place.

Lesson

This game, as the names suggests, involves three simple emotions (angry, sad, and happy). 

  1. Three students form a basic scene: one high level, one medium, and one low.  Each student is assigned one of the emotions.  Generally, the happy student is standing; the mad student is sitting down; and the sad student is on the floor.  As they change emotions, they actually physically move to the new location – so having them positioned in a triangle works, but any variation can work as long as the actors know their objective.  They are then presented with a situation (e.g., a trip to the zoo). 
  2. Each character then must say a few lines about their perspective on the zoo: they can, of course, dialogue with one another; but as they do, they must then find the right time to assume the emotional condition (and physical position) of the character next to them 

Example

Glad Student:  I just love the zoo!  Isn’t it so wonderful to be here with all these beautiful animals!

Mad Student:  What?  I hate the zoo!  The animals smell awful, and it’s hot and boring.

Sad Student:  Oh!  It’s just so….sad!  All these animals.  I think I’m going to cry!

Glad Student:  Don’t cry, the zoo is a fantastic opportunity to witness the miracle of nature.

Mad Student:  Give me a break.

Sad Student (crying):  Breaks can be so….sad!

Students may have to be cued (with a drum beat or a single hand clap) into new positions, but experienced players will begin to move into their new positions on their own. 

Glad Student:  You know, come to think of it, the zoo can be irritating (has moved into Mad position)

Mad Student:  You’re really upsetting me (has moved into Sad position).

Sad Student:  Hey!  I’m starting to see the upside here!  (has moved into Glad position)