Unit 3 Sample Lesson: Introduction to Scenic Games

Why is it difficult to find a pattern within a scene?
Why do we try to "look" for the game, instead of "creating the game" in a scene?
Why can "Looking for the Game" make improvisation less spontaneous?  How can it make it more spontaneous?
How does the scenic game relate to the three rules from unit one?

A1.3 use role play to explore the possibilities of different scenarios, situations, and characters 

A3.2 select and use appropriate role development techniques during rehearsal and performance 

B1.2 analyse drama works to determine how well they achieve their intended purpose 

B2.2 identify ways in which drama can promote self- and social awareness

C1.1 identify and describe the forms, elements, conventions, and techniques used in a variety of drama styles and explain their function in their own and others’ drama works

C1.2 use correct terminology for the forms, elements, conventions, and techniques they learn about through viewing and creating drama works

At the end of this lesson, students will be able to:

• Identify and describe a scenic game
• Begin to understand point of view and how it is used in improvised scenes
• Describe the point of view that causes a scenic game
• Reflect upon the patterns of behaviour in their lives and the patterns of behaviour of others and how those patterns are enforced by a strong point of view on the themselves, their relationships and society

Readiness

Students should have learned all basic improv skills.  Students should be able to sustain a role in an improvised scene.  Students must have developed skills necessary for collaboration, like chivalry, accepting, agreement and beginning to use "group mind."

Terminology

Scenic Games
Point of View

Materials

Computer and projector
Appendix A - Shmoo and Aardvark
Appendix B - Examples of POV
BLM#6 Game of Life

Whole Class > Discussion

Explain to students that a Scenic Game is a pattern of behaviour in a scene which is heightened in each repetition and that the game often reaches a climax with some sort of reversal at the end. The game is also often reflective of a character's point of view.  Sometimes characters have their own "game" which is a pattern of behaviour that they take with them throughout every scene they are in. 

Show students the YouTube clip Cookie Monster at the Library. Discuss the components of the game in this scene:

What is the pattern of this scenic game?  How would you describe one "round" of the game?
How is the game heightened in each "round?"
What is the reversal at the end of the game?
What is Cookie Monster's point of view?  How does he see the world and the situation?  How does this point of view drive the game?

Whole Group > Shmoo & Aardvark

Play Shmoo and Aardvark with the class.  For detailed instructions on the game, refer to Appendix A - Shmoo and Aardvark Instructions.  As students begin to play, encourage them to "perform" the game in character as opposed to simply playing the game or going through the motions.

Whole Class > Discussion

Begin a short discussion to analyze Shmoo and Aardvark as if it were a scenic game using the following guiding questions:
What was the scenic game of Shmoo and Aardvark?
What was the point of view of each of the "characters" in the game?  How did this point of view cause the game to be played?
How was the game heightened?

Assessment for Learning (AfL)

Observe students during Shmoo and Aardvark and note whether they are able to play the character or the emotion.

Assessment as Learning (AaL)

Collect students' descriptions of their games to assess their understanding of characters' inner thought processes and their points of view.

Ask students to consider why they do not realize they are playing the games in their lives while they are in the moment.

Differentiation (DI)

Students may draw a comic strip of their game using stick figures instead of writing.

Quick Tip

Point of view has not yet been taught fully at this point in the course.  Address point of view as something that will occur naturally, not as something students need to feel they must create (that will come later).

If students are having difficulty thinking of a pattern of behaviour in their reflective writing, encourage them to consider familial relationships (i.e., with their parents, with their siblings) as those relationships tend to carry more historical contexts which colour points of view.

Link and Layer

The concept of repetition can be linked to the structure of global folktales.  For example, while looking at an Anansi story, students can be asked: "What is Anansi's game?  What is his point of view on others that causes him to play this game?  What is the reversal at the end of the story?"

Hyperlinks

Hand out BLM#6 Game of Life to fill out or write the following on the board for students to answer:
Describe one round in this pattern of behaviour.
Describe what initiates this pattern.
Describe the point of view of the participants and how those points of view cause it to happen.

Small Group > Presentations

Put students into small groups to discuss these behaviours and games.  As a group, tell students to choose one of the patterns of behaviour and turn it into a scenic game.

Instruct students to quickly prepare a rough prepared improvisation of their scenic game.  Instruct them to ensure that the following elements are present:

• Repetition of the pattern
• Heightening of the pattern with each repetition

Inform students that no "ending" is necessary as they are simply exploring the idea of a pattern and not creating a full scene.

Whole Class > Present Games

Have students present their Scenic Games to the class. After each presentation, ask the class the following questions:
Describe the action of the scenic game.
Describe one "round" of the game.
What is the point of view of the characters?  How does that cause the game to be played?