Unit 4 Sample Lesson: Inside the Frame

In this lesson, students will begin to appreciate how film and video use the elements of stage drama to activate text and theme: plot, setting, focus and emphasis, tension, and characters and how they are revealed primarily through significant action and dialogue. Students will compare the work of stage actors and how they adapt their performances according to whether they are playing in a large, medium, or intimate theatre to screen actors adapting performances from shot to shot. In a screen performance, everything within the frame has to have great significance, since it is all the audience sees.

What is the importance of the frame in screen performance?

How does the content of the frame establish point of view?

How can an actor make choices to activate story and theme within the confines and potency of the frame?

What skills and techniques do screen actors use to communicate story and theme from within a variety of frames (shot constructions)

A1.3 create and interpret a range of characters using a variety of acting approaches

A2.2 use a variety of drama conventions to establish a distinctive context or role in original or adapted works

A3.2 use a range of techniques and acting approaches to refine performance during rehearsal

B1.1 use the critical analysis process before and during drama projects to assign roles within the group, monitor the group process, and modify the roles and process as needed

C1.1 identify and describe the forms, elements, conventions, and techniques used in a variety of drama styles and explain how they help achieve specific purposes and effects

C1.2 use correct terminology for the various components and processes of their own and others' drama works

C2.2 compare the acting skill sets required by performers in current media to those required in traditional theatre

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

• Relate techniques of film acting to those of stage acting
• Reflect on the creative process and its application to other contexts
• Use appropriate film terminology
• Explain the importance of the frame in film and video
• Use appropriate emotional levels and reactions in a variety of shot constructions
• Understand the importance of distance within the screen frame
• Understand the importance of performing with an awareness of the camera

Readiness

Prior to this lesson, students will have:

• experience with the creative process through drama exercises
• experience with character development using Stanislavsky's theories
• an understanding of script analysis using the concepts of objectives, obstacles, and tactics
• knowledge of the mechanics of film-making (shot construction etc.) 
• experience with co-operative games and drama exercises that develop co-operation and leadership
• an understanding of historical cultural, political, and artistic influences on screen drama

Terminology

Long Shot
Medium Shot (Mid Shot)
Close-up
Extreme Close-Up (Big Close-Up)
Frame

Materials

A wooden frame the size of a TV screen, either 16 units wide, 9 units high (wide-screen) or 4 units wide, 3 units high (regular TV aspect ratio)
Camera DVD or video
Television monitor for playback
BLM #1 Camera Shots and Acting Technique
BLM #2 Storyboard Assignment

Whole Class > Discussion

Link back to the mechanics of filmmaking (shot construction) and to the students' experience with character development and script analysis. Link forward to the need to adapt these experiences when acting for the camera. Explain that today we will be looking at techniques used in film and television acting.

Whole Class > Inside the Frame

Hold up a frame, and have the class watch it from about eight feet away. Have two volunteers stand as far away from it as is necessary for the observers to see them in the frame (a) full body, (b) from the waist up (c) from the chest up, and (d) face only. Review the names of these shots as learned in Unit 2.

Now have the volunteers demonstrate an emotion i.e. anger, using the same frame positions as above. Encourage the volunteers to consider the changes they need to make when the frame (camera) reveals only the face compared to the entire body i.e. the closer the camera gets, the subtler the expressions need to be; the farther away, the stronger the body language needs to be.

Pairs > Worksheet

Hand out BLM #1 Camera Shots and Acting Technique and ask them to fill it out in pairs. When students have completed the handouts, briefly discuss the terms and descriptions and explain that we will explore the ways in which screen actors use these concepts.

Assessment for Learning (AfL)

Observation and questioning of students for understanding. Use exit slips to determine next steps in learning.

Assessment as Learning (AaL)

Encourage students to use think-pair-share discussion in filling out the handouts for understanding of the shots and terms. Students use small group discussions and feedback to gauge the effectiveness of their communication on stage and within the frame. Students use partner discussion and improvisation to assess their understanding of ways to "cheat" toward the camera. Students use the exit slips to identify gaps in their understanding and articulate questions about the concepts of frames and relationships to the camera

Differentiation (DI)

Students choose partners, the content to explore and choose the different frame views. Students determine roles according to strengths: one student may record, another may help create the the scenes and another may be in the scene. Instead of having students fill out the worksheet BLM #1, have students demonstrate physically. Have students write out their 10 line scenes.

Link and Layer

Consider Stanislavsky, Uta Hagen or Judith Weston when discussing frame shots and what acting techniques would be needed. 

Quick Tip

To further demonstrate the difference between frame shots and acting techniques, have students find their own space in the room. Call out an emotion and a frame position and have students demonstrate their understanding through tableau i.e. grief/long shot - students use their entire body to demonstrate understanding. 

If doing 4 shots x 4 scenes will take too much time, do one scene using 4 different construction shots.

For movie examples, search YouTube for short films.

Hyperlinks

Durham's Glossary of Film Terms

Mise-en-scene

Camera Angles

Filmmaking Techniques - a senior High School project that demonstrates a variety of camera techniques including angles, framing, movement, focus, etc.

Small Groups > 30 Second Scenes

Divide students into groups of four to devise a 30 second silent scene involving a character's reaction to a situation (e.g. a sudden loud knock at the door, the sound of unfamiliar footsteps in the house at night, writing a big exam, seeing a boyfriend/girlfriend with someone else). Instruct students to interpret the same scene from the following shot constructions: long shot, a mid shot, a close-up, and an extreme close-up so they will end up with 4 scenes. If there are enough cameras available, give one to each group. If not, have students play within the wooden frame.

Whole Class > Presentation

Have students present their scenes to the class and discuss.

Key Questions for Discussion:

How did the use of each of these shot constructions affect you?
Which construction was the most effective to convey the emotional content of the scene?
What acting skills are needed for each?

Pairs > Stage Scene

Divide students into pairs. Tell each pair to choose one of the 30 second scenes to develop into two person scenes using rehearsed improvisation. Scenes should consist of approximately 10 lines of dialogue and will be for the stage. Encourage students to consider the perspective of a character whose story was not told (e.g. the person who was knocking at the door, the teacher proctoring the exam).

When the scene is completed and staged, ask students to translate the same scene to a mid-shot within the frame. Have students join another pair to watch, compare, and discuss both the stage and screen versions of one another's scenes. Encourage students to use peer feedback to refine their work. Instruct pairs to move to another group and repeat this process.

Whole Class > Present

As a class, watch three or four scenes, both for stage and for screen. Discuss the effectiveness of the scenes.

Key Questions for Discussion:

In what way did the actors bring the scene to life for the stage? For the screen?
Do you see any strengths or restrictions for either of these media?
What did you do differently when communicating the scene for stage vs for the screen?

Pairs > Cheating for the Camera

Discuss (a) the value of the screen actor's face in communicating intent and reactions and (b) the screen convention of "cheating" for the camera. See Appendix #1 Cheating for the Camera.

Divide students into pairs, and in role as directors, have them discuss the different reasons why they may need to have actors "cheat" for the camera. With the class, have students discuss some of the possibilities. Share film examples of cheating for the camera.

Whole Class > Discussion

Have the class reflect on "cheating" for the camera.

Key Questions for Discussion

How do you think it would feel to speak to another actor without making eye contact? In our everyday lives, do we always look straight at the person we're speaking to?
In what ways does the need to "cheat" for the camera affect the blocking scenes?
How does cheating for the camera enhance a scene?

Individual > Storyboard

Hand out BLM #2 Storyboard Assignment for students to complete. Tell students they are to storyboard their 10 line scenes to indicate possible instances of when cheating may occur.  Explain that next class they will work from the storyboards to create their scenes and will videotape it for their video portfolio. 

Exit slips: Hand out small slips of paper. Have students write briefly any questions or concerns they have about either the assignment or the notion of frames. Collect the slips as students leave.

Next steps: Students will complete their storyboards and share them with their partners. Students will negotiate and compromise to refine their ten-line scene in order to videotape it for their video portfolio. During the following two classes, students will learn how screen actors communicate story, character, and objectives through the use of gestures and props.