Unit 4 Sample Lesson: To Say or Not to Say

Critical Learning	Guiding Questions
Students will recognize spoken subtext in a script and how it impedes audience engagement by removing suspense and irony. Students will learn the value of actions and how actions, rather than text or dialogue, can reveal character. They will revise written scenes to create dialogue that supposes trust from the audience and provides actors with an opportunity to use action, rather than words, to reveal character and intent.	What is subtext? What does the saying 'actions speak louder than words' mean? How can nonverbal communication reveal intent? How does an individual's reactions to events reveal 'character'?
Curriculum Expectations	Learning Goals
A3.1 Presentation Techniques & Technologies: demonstrate an understanding of how different acting and staging techniques reflect and support different purposes in drama B1.1 The Critical Analysis Process: use the critical analysis process to reflect on and justify or revise decisions in creating drama works B1.2 The Critical Analysis Process: analyse a variety of contemporary and historical drama works to explain and evaluate how they communicate themes and dramatize issues B2.2 Drama & Society: describe ways in which their personal experiences in drama have influenced their attitudes to others and their world view C1.2 Concepts & Terminology: use correct terminology for the styles, components, processes, and techniques of drama in creating and critiquing drama works and theatre performances	At the end of this lesson, students will be able to: Recognize subtext in both the written and spoken word and be able to edit a draft script by removing the overt subtext from a character's lines Critically examine a peer's scene performance for problems in under-writing character or over-writing exposition
Instructional Components
Readiness Students should have prior knowledge of subtext and its effect on a dramatic scene. They would have looked at the section on subtext from The Playwriting Seminars by Richard Toscan, Virginia Commonwealth University (see Hyperlink Subtext). Students need to understand proper script format and be familiar with stage directions. The students, in groups of three, have already written a 15 minute three person scene on either the theme of death or love. These topics are vague enough to allow exploration, but also defined enough to prevent students from never arriving at an idea. Each student group has been assigned a corresponding peer evaluation group to assess and provide feedback on both the written script and the workshop performance. Each student group, before performing, must provide the peer evaluation group and the teacher with the working script. The peer evaluation groups should have read the script and completed BLM #5 Peer Assessment prior to this lesson. A suitable playing area, if a stage is not available, will need to be set up to workshop the student pieces. Terminology Subtext	Materials Photocopies of student scripts (An environmental alternative is to create an electronic version and project it for the viewing audience to see during the performance). An exemplar script that shows proper form and style - either in the form of a photocopy or available to view on a website (perhaps the teacher's own website). Access to a computer lab A playing area or stage space to present the workshop scripts Audio Visual Aid in the form of an overhead projector, a SMART board, or digital projector Photocopies of BLM #5 Peer Assessment (the environmental option would be to produce a version of this electronically for viewing)

Approximately 20 minutes Minds On	Pause and Ponder
Whole class > Discussion By way of reviewing subtext, use the Iceberg Analogy. Use a SMART board or some other visual aid to illustrate how the 1/3 of the iceberg above the water represents the spoken text and the actions of the characters involved, while the 2/3 below the waterline represents a character's hidden desires and their unspoken thoughts. In this lesson, focus on what doesn't need to be said and what can be eliminated it from the written text.	Assessment for Learning (AfL) Use responses to the Iceberg Analogy to check for understanding of subtext. Observe how students work together as a team. Assessment as Learning (AaL) Use peer guided assessment to help students dig deeper (see BLM #5 Peer Assessment). Differentiation (DI) Videotaping the performances and placing copies for assessment and feedback onto the teacher's website, for students who need more time to assess what they see and hear in the workshop performances . PDFs of scripts can be viewed on the teacher's website prior to the workshop performances, to allow more reading time. Struggling writers could use speech-to-text software or another student or peer-helper as a scribe. Have students write out their feedback. Quick Tip There is a time commitment in doing a number of student presentations, particularly in a large class. Similar learning outcomes could be achieved by having only some student groups workshop their script and then using the similarities between those groups to discuss the key concepts required before beginning the editing process. Hyperlinks Subtext Lajos Egri's Unity of Opposites
Approximately 100 minutes Action!
Small groups > Presentation Have each student group provide a brief presentation outlining: The context of their scene A description of the setting and the characters An explanation of how the scene fits into the overall lives of the characters Their key intention for the scene so that the audience is aware of subtextual desire. Following this, instruct the peer evaluation group to offer feedback based on the written script they have previously read. The audience can then compare their comments to those of the peer evaluation group. Peer groups should watch to see if their assessment notes change because of the performance. Does the performance provide clarity that wasn't there before? Small groups > Performance Have each student group perform their scenes. Whole class > Discussion Following each performance, briefly discuss what was explicitly revealed in the scene, focusing on what the characters said to betray their true intention or emotions. Invite the audience to provide feedback, in particular, the peer evaluation group. Discuss how the writers could explore character development and subtext more effectively while encouraging student writers to take notes directly on their scripts. Prompts for audience: What lines of dialogue or situations really hit home in terms of emotional content? What did the characters want (intent) and how did they try to get it (strategy)? Were the intentions shown or told? How can the writers eliminate exposition? How can the characters use actions rather than text to demonstrate intent?
Approximately 20 minutes Consolidation
The student groups will return to their original script and discuss possible changes based on the feedback they have received from their classmates and the teacher. Prompts for writers: What feedback is useful to you in revising your scene? Were you aware, when performing your scene, of any spoken text that can be eliminated without damaging the story (consider both Subtext and Exposition)? Are there any parts of your scene that you should eliminate or revise but are too proud of them to let them go? (Remember as Stephen King said, "Sometimes you have to kill your darlings.") Student groups will use the Writer's Workshop ARRRP strategy (discussed in Instructional Strategies above) to make changes to their original script. At this point, Google Docs would be an excellent tool for collaboration on the final script. Following conferencing with the teacher and a re-write, the revised script will be handed in for evaluation.