DOCSLIB.ORG

Scripted Works Fundamental Pathway Focus

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scripted Works Fundamental Pathway Focus Colorado Teacher-Authored Instructional Unit Sample Drama and Theatre Arts High School Unit Title: Scripted Works Fundamental Pathway Focus INSTRUCTIONAL UNIT AUTHORS Adams 12 Five Star Schools Jay Seller, PhD Colorado Springs School District Jen Shafer Woodland Park School District Sara Lee BASED ON A CURRICULUM m Project OVERVIEW SAMPLE AUTHORED BY Adams 12 Five Star School District Jay Seller, PhD Denver School District Jennifer Renaldi Douglas County School District David Peterson Jefferson County School District Beau Augustin Colorado’s District Sample Curriculu MPB Associates Michael Bautista University of Northern Colorado Mary Schuttler, PhD This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: MARCH 31, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Drama and Theatre Arts Grade Level High School Course Name/Course Code Part One: Scripted Works, Character Development, Technical Theatre Standard Fundamental Pathway Grade Level Expectations (GLE) Extended Pathway Grade Level Expectations (GLE) 1. 1. Creative process in character development DTA09-HSFP-S.1-GLE.1 1. Character development in improvised and scripted DTA09-HSEP-S.1-GLE.1 Create and script improvisation works 2. Technical elements of theatre in improvised DTA09-HSFP-S.1-GLE.2 2. Technical design and application of technical elements DTA09-HSEP-S.1-GLE.2 and scripted works 3. Expression, imagination, and appreciation in DTA09-HSFP-S.1-GLE.3 3. Ideas and creative concepts in improvisation and play DTA09-HSEP-S.1-GLE.3 group dynamics building 4. Interpretation of drama using scripted DTA09-HSFP-S.1-GLE.4 4. Creation, appreciation, and interpretation of scripted DTA09-HSEP-S.1-GLE.4 material works 2. 1. Communicate meaning to engage an DTA09-HSFP-S.2-GLE.1 1. Drama and theatre techniques, dramatic forms, DTA09-HSEP-S.2-GLE.1 Perform audience performance styles, and theatrical conventions that engage audiences 2. Technology reinforces, enhances, and/or DTA09-HSFP-S.2-GLE.2 2. Technology reinforces, enhances, and/or alters a DTA09-HSEP-S.2-GLE.2 alters a theatrical performance theatrical performance 3. Directing as an art form DTA09-HSFP-S.2-GLE.3 3. Direction or design of a theatrical performance for an DTA09-HSEP-S.2-GLE.3 intended audience 3. 1. Analysis and evaluation of theatrical works DTA09-HSFP-S.3-GLE.1 1. Contemporary and historical context of drama DTA09-HSEP-S.3-GLE.1 Critically 2. Evaluation of elements of drama, dramatic DTA09-HSFP-S.3-GLE.2 2. Elements of drama, dramatic forms, performance styles, DTA09-HSEP-S.3-GLE.2 Respond techniques, and theatrical conventions dramatic techniques, and conventions 3. Respect for theatre, its practitioners, and DTA09-HSFP-S.3-GLE.3 3. Respect for theatre professions, cultural relationships, DTA09-HSEP-S.3-GLE.3 conventions and legal responsibilities High School, Drama and Theatre Arts Unit Title: Scripted Works Page 1 of 16 Colorado Teacher-Authored Sample Instructional Unit st Perform Colorado 21 Century Skills Critical Thinking and Reasoning: Thinking Deeply, Creative Thinking Differently Invention Process Information Literacy: Untangling the Web Critically Create Collaboration: Working Together, Learning Together Respond Self-Direction: Own Your Learning The Colorado Academic Standards for Drama and Theatre Arts are not intended to be taught in a linear (checklist of coverage) fashion, but rather should be implemented as a Invention: Creating Solutions cyclical creative process. Each unit within this sample blueprint intentionally includes standards from all three drama and theatre arts standards to illustrate this process- based philosophy. Unit Titles Length of Unit/Contact Hours Unit Number/Sequence Scripted Works (Fundamental) Quarter/Semester/Year Instructor Choice High School, Drama and Theatre Arts Unit Title: Scripted Works Page 2 of 16 Colorado Teacher-Authored Sample Instructional Unit Unit Title Scripted Works (Fundamental) Length of Unit Quarterly/Semester/Yearly Focusing Lens(es) Perspective Standards and Grade Fundamental: Extended: Level Expectations DTA09-HSFP-S.1-GLE.1, DTA09-HSFP-S.1-GLE.3, DTA09-HSEP-S.1-GLE.1, DTA09-HSEP-S.1-GLE.3, Addressed in this Unit DTA09-HSFP-S.1-GLE.4 DTA09-HSEP-S.1-GLE.4 DTA09-HSFP-S.2-GLE.1, DTA09-HSFP-S.2-GLE.3 DTA09-HSEP-S.2-GLE.1, DTA09-HSEP-S.2-GLE.3 DTA09-HSFP-S.3-GLE.1, DTA09-HSFP-S.3-GLE.2, DTA09-HSEP-S.3-GLE.1, DTA09-HSEP-S.3-GLE.2, DTA09-HSFP-S.3-GLE.3 DTA09-HSEP-S.3-GLE.3 Inquiry Questions Fundamental: (Engaging- How does creating characters through rehearsal and performance enhance real-world connections to literary characters and diverse cultures?(DTA09- Debatable): HSFP-S.1-GLE.1,3,4) and (DTA09-HSFP-S2-GLE.1,3) and (DTA09-HSFP-S.3-GLE.1,2,3) How can a director’s production concept influence the audience’s reactions to a performed scripted work? How does perspective influence choice-making in scripted works – accurate or idealized? Extended: How does creating characters through rehearsal and performance, with knowledge of historical periods, enhance real-world connections to literary characters and diverse cultures? (DTA09-HSEP-S.1-GLE.1,3,4) and (DTA09-HSEP-S2-GLE.1,3) and (DTA09-HSEP-S.3-GLE.1,2,3) How does the selection of a play and the director’s concept statement reflect the capabilities of the ensemble process in a performed scripted work? How does the knowledge of historical periods impact overall production value? Unit Strands Create, Perform, Critically Respond Concepts Culture, Influence, Tradition, Investigate/Discovery, Character Choices, Emotions, Character, Portrayal, Experiences, Production Concept, Perception, Social, Political, Historical, Perception, Connection, Playmaking Process, Ingenuity, Self-Direction Generalizations Guiding Questions My students will Understand that… Factual Conceptual Fundamental: Cultural and family traditions can often What kinds of family traditions existed in the 1950’s? How do socioeconomic factors influence family dictate character choices which can limit the actor’s What elements made the 1960’s the Age of Innocence? traditions? decision making process. (DTA09-HSFP-S.1-GLE.1,3,4) and (DTA09-HSFP-S2-GLE.1,3) and (DTA09-HSFP-S.3-GLE.1,2,3) Fundamental: Actors’ personal emotions inform the How do Martha’s (or insert character) emotions in How does the changing of emotional responses, development and portrayal of character relationships “Who's Afraid of Virginia Woolf,” (or insert work) obstacles and tactics of a character in rehearsal assist through using personal emotional experiences throughout affect her communication skills with her husband (or in creating a final believable depiction? the acting process (DTA09-HSFP-S.1-GLE.1,3,4) and insert character)? How can improvisation expand the actor’s ability to (DTA09-HSFP-S2-GLE.3) and (DTA09-HSFP-S.3-GLE.1,2,3) What are the basic improvisation strategies? deepen a characters emotional response? How do human emotions interfere with communication, and what body movements and gesture can assist in exhibiting an emotional response? High School, Drama and Theatre Arts Unit Title: Scripted Works Page 3 of 16 Colorado Teacher-Authored Sample Instructional Unit Fundamental: Director’s production concept can What is a director’s production concept? In what circumstances might an actor have an option of intentionally drive audience perceptions of characters. What strategies can be employed to ensure a particular moving away from a director’s production concept? (DTA09-HSFP-S.1-GLE.3,4) and (DTA09-HSFP-S2-GLE.1) audience reaction such as intrigue/disbelief, humor, and (DTA09-HSFP-S.3-GLE.3) etc.? Fundamental: The creation of a play may enhance the What aspects of playwriting (form and structure) assist How can the use of character development techniques, discovery of current social, political, historical, and in creating a one-act play? both internal and external, result in well-rounded cultural themes and issues, and philosophies. (DTA09- What cultural themes are most relevant to a high school characters? HSFP-S.1-GLE.3) and (DTA09-HSFP-S2-GLE.2) and (DTA09- audience? How can one incorporate dance, music, and visual arts in HSFP-S.3-GLE.1,2,3) creating a character? How does an understanding of real world literary and historical characters help inform character choices? Extended: Character development techniques inform the What choices must you make to create a character How can the use of character development techniques, playmaking and writing processes, and contribute to the unlike yourself? both internal and external, result in well-rounded actor’s capacity for spontaneous ingenuity and self- In what ways does creating a believable character effect characters? direction. (DTA09-HSEP-S.1-GLE.1,3) and (DTA09-HSEP-S2- the final product and inform the playwright’s How can one incorporate dance, music, and visual arts in GLE.1) and (DTA09-HSEP-S.3-GLE.2) intent/director’s concept? creating a character? How does an understanding of real world literary and historical characters help inform character choices? Extended: Improvisational skills inform the playmaking What improvisational techniques are most useful in the How does improvisation aid in the development of and writing processes,
Load more

Recommended publications
  • Horton Foote
    38th Season • 373rd Production MAINSTAGE / MARCH 29 THROUGH MAY 5, 2002 David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by HORTON FOOTE Scenic Design Costume Design Lighting Design Composer MICHAEL DEVINE MAGGIE MORGAN TOM RUZIKA DENNIS MCCARTHY Dramaturgs Production Manager Stage Manager JENNIFER KIGER/LINDA S. BAITY TOM ABERGER *RANDALL K. LUM Directed by MARTIN BENSON Honorary Producers JEAN AND TIM WEISS, AT&T: ONSTAGE ADMINISTERED BY THEATRE COMMUNICATIONS GROUP PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P - 1 CAST OF CHARACTERS (In order of appearance) Constance ................................................................................................... *Annie LaRussa Laverne .................................................................................................... *Jennifer Parsons Mae ............................................................................................................ *Barbara Roberts Frankie ...................................................................................................... *Juliana Donald Fred ............................................................................................................... *Joel Anderson Georgia Dale ............................................................................................ *Linda Gehringer S.P. ............................................................................................................... *Hal Landon Jr. Mrs. Willis .......................................................................................................
    [Show full text]
  • [email protected]. TA
    THST S392/ENGL S361: Modern American Drama Prof. Marc Robinson Summer 2016 E-mail: [email protected]. TA: David Bruin. E-mail: [email protected] This seminar surveys American theater between World War I and 2000. We’ll begin with the pre-history to this century’s theater—its melodramas, temperance plays, panoramas, and other popular forms. This work laid the foundation for the startling innovations of the early twentieth century. Eugene O'Neill and Gertrude Stein both began writing plays in 1913—O’Neill consciously allying himself with European innovation, Stein working in a theatrical vacuum, inaugurating a tradition of her own. We read both writers before moving on to the third pillar of American theatrical modernism, Thornton Wilder—someone wrongly assumed to be an unthreatening, homely figure in our culture. We then re-read canonical works by Tennessee Williams and Arthur Miller in the light of the less familiar experiment of previous decades. What, beyond narrative and character, contributes to these plays’ enduring value? We’ll also look at an idiosyncratic writer—Jane Bowles—who addresses shifting ideas of marginality and sociability in her theater. The boldness of all these mid-century playwrights sets the stage for the explosion of theatrical experiment in the 1960s. After a consideration of Edward Albee’s theatrical vitriol and menace, we’ll move briskly through selected playwrights from the 1970s, 80s, and 90s—some of whom are mainstays of our theaters (Sam Shepard, David Mamet), while others are deserving of more attention (Maria Irene Fornes, Adrienne Kennedy). We’ll also consider three writers who are also radical performers— Spalding Gray, Anna Deavere Smith, and Wallace Shawn.
    [Show full text]
  • The Relevance of Tennessee Williams for the 21St- Century Actress
    Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 2009 Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the American Film Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Bealer, Marcie Danae, "Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress" (2009). Honors Theses. 24. https://scholarlycommons.obu.edu/honors_theses/24 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. Then & Now: The Relevance of Tennessee Williams for the 21st- Century Actress Marcie Danae Bealer Honors Thesis Ouachita Baptist University Spring 2009 Bealer 2 Finding a place to begin, discussing the role Tennessee Williams has played in the American Theatre is a daunting task. As a playwright Williams has "sustained dramatic power," which allow him to continue to be a large part of American Theatre, from small theatre groups to actor's workshops across the country. Williams holds a central location in the history of American Theatre (Roudane 1). Williams's impact is evidenced in that "there is no actress on earth who will not testify that Williams created the best women characters in the modem theatre" (Benedict, par 1). According to Gore Vidal, "it is widely believed that since Tennessee Williams liked to have sex with men (true), he hated women (untrue); as a result his women characters are thought to be malicious creatures, designed to subvert and destroy godly straightness" (Benedict, par.
    [Show full text]
  • Beirut Divided: the Potential of Urban Design in Reuniting a Culturally Divided City
    The Bartlett Development Planning Unit DPU WORKING PAPER NO. 153 Beirut Divided: The potential of urban design in reuniting a culturally divided city Benjamin J Leclair-Paquet DPU Working Papers are downloadable at: www.bartlett.ucl.ac.uk/dpu/latest/ publications/dpu-papers If a hard copy is required, please contact the De- velopment Planning Unit (DPU) at the address at the bottom of the page. Institutions, organisations and booksellers should supply a Purchase Order when ordering Working Papers. Where multiple copies are or- dered, and the cost of postage and package is significant, the DPU may make a charge to cov- er costs. DPU Working Papers provide an outlet for researchers and professionals working in the fields of development, environment, urban and regional development, and planning. They report on work in progress, with the aim to dissemi- nate ideas and initiate discussion. Comments and correspondence are welcomed by authors and should be sent to them, c/o The Editor, DPU Working Papers. Copyright of a DPU Working Paper lies with the author and there are no restrictions on it being published elsewhere in any version or form. DPU Working Papers are refereed by DPU academic staff and/or DPU Associates before selection for publication. Texts should be submitted to the DPU Working Papers' Editors, Dr Camillo Boano and Dr Barbara Lipietz. Graphics and layout: Giorgio Talocci, Camila Cociña and Luz Navarro The Bartlett Development Planning Unit | The Bartlett | University College London 34 Tavistock Square - London - WC1H 9EZ Tel: +44 (0)20 7679 1111 - Fax: +44 (0)20 7679 1112 - www.bartlett.ucl.ac.uk/dpu DPU WORKING PAPER NO.
    [Show full text]
  • Tennessee Williams's Dramatic World
    ISSN 2411-9598 (Print) European Journal of September-December 2015 ISSN 2411-4103 (Online) Language and Literature Studies Volume 1 Issue 3 Tennessee Williams's Dramatic World Esmeralda Subashi, Ph.D Miranda Ostrosi Veliaj, Ph.D. University of Tirana Faculty of Foreign Languages English Language Department E-mail: [email protected] Abstract Tennessee Williams has been regarded as the greatest Southern dramatist and one of the most distinguished playwrights in the history of American drama. He is undoubtedly the most renowned American dramatist of the second half of the 20th Century. This paper addresses and explores some of the main features of his dramatic works. His drama was a lyric or poetic one, and that is why the critic and scholar Frank Durham referred to him as “Tennessee Williams, theater poet in prose”. When David Mamet describes William’s plays as “the greatest dramatic poetry in the American language”, he shares the widely accepted opinion that Williams brought to the language of the American theater a lyricism unequaled before or after. He infuses his dialogue with lyrical qualities so subtle that the reader or hearer, unaware, responds not to realistic speech but, instead, to speech heightened by such poetic effects as alliteration, rhythm, onomatopoeia, and assonance. As a Southern writer, Williams was attuned to the natural rhythm and melody of Southern speech, a melody, he says, heard especially in the voices of women. Characterization is one of Williams’s strongest achievements as a dramatist. His people are imaginatively conceived yet so convincing that it is tempting to take them out of context and theorize about their lives before and after the action of the play.
    [Show full text]
  • Bernhardt Hamlet Cast FINAL
    IMAGES AVAILABLE FOR DOWNLOAD HERE CAST ANNOUNCED FOR GEFFEN PLAYHOUSE WEST COAST PREMIERE OF “BERNHARDT/HAMLET” FEATURING GOLDEN GLOBE NOMINEE DIANE VENORA AS SARAH BERNHARDT WRITTEN BY THERESA REBECK AND DIRECTED BY SARNA LAPINE ALSO FEATURING NICK BORAINE, ALAN COX, ISAIAH JOHNSON, SHYLA LEFNER, RAYMOND McANALLY, LEVENIX RIDDLE, PAUL DAVID STORY, LUCAS VERBRUGGHE AND GRACE YOO PREVIEWS BEGIN APRIL 7 - OPENING NIGHT IS APRIL 16 LOS ANGELES (February 24, 2020) – Geffen Playhouse today announced the full cast for its West Coast premiere of Bernhardt/Hamlet, written by Theresa Rebeck (Dead Accounts, Seminar) and directed by Sarna Lapine (Sunday in the Park with George). The production features Diane Venora (Bird, Romeo + Juliet) as Sarah Bernhardt. In addition to Venora, the cast features Nick BoraIne (Homeland, Paradise Stop) as Louis, Alan Cox (The Dictator, Young Sherlock Holmes) as Constant Coquelin, Isaiah Johnson (Hamilton, David Makes Man) as Edmond Rostand, Shyla Lefner (Between Two Knees, The Way the Mountain Moved) as Rosamond, Raymond McAnally (Size Matters, Marvelous and the Black Hole) as Raoul, Rosencrantz, and others, Levenix Riddle (The Chi, Carlyle) as Francois, Guildenstern, and others, Paul David Story (The Caine Mutiny Court Martial, Equus) as Maurice, Lucas Verbrugghe (Icebergs, Lazy Eye) as Alphonse Mucha and Grace Yoo (Into The Woods, Root Beer Bandits) as Lysette. It’s 1899, and the legendary Sarah Bernhardt shocks the world by taking on the lead role in Hamlet. While her performance is destined to become one for the ages, Sarah first has to conVince a sea of naysayers that her right to play the part should be based on ability, not gender—a feat as difficult as mastering Shakespeare’s most Verbose tragic hero.
    [Show full text]
  • 10Th Grade Monologue Packet
    10th Grade Monologue Packet M - T​he Glass Menagerie:​ Tennessee Williams T​om 2 F - T​he Crucible:​ Arthur Miller A​ bigail (A) 2 F - T​he Crucible:​ Arthur Miller A​ bigail (B) 2 F - A​ View from the Bridge: A​ rthur Miller C​ atherine (A) 2 F - A​ View from the Bridge: A​ rthur Miller C​ atherine (B) 3 M - T​he Dark at the Top of the Stairs: W​ illiam Inge S​ ammy 3 F - N​ ight, Mother:​ Marsha Norman J​essie 3 F - A​ scension Day:​ Timothy Mason F​aith 4 M/F - A​ unt Dan & Lemon:​ Wallace Shawn L​emon 4 F - L​ike Dreaming, Backwards:​ Kellie Powell N​ atalie 4 M - M​ ermaid in Miami:​ Wade Bradford E​ mperor Tropico 5 F - M​ y Fair Lady:​ Alan Jay Lerner E​ liza Doolittle 5 M - I​n Arabia We’d All Be Kings: S​ tephen Adly Guirgis C​ harlie 5 M - “​Master Harold”…And the Boys: A​ thol Fugard H​ ally 6 M - S​ ammy Carducci’s Guide to Women: R​ onald Kidd S​ ammy 6 F - O​ ur Town: T​hornton Wilder E​ mily 6 F - T​he Clean House:​ Sarah Ruhl V​irginia 7 F - T​he Effect of Gamma Rays on Man-In-The-Moon-Marigolds:​ Paul Zindel T​illie 7 M/F - T​ill We Meet Again:​ Colin and Mary Crowther U​ nknown 7 F - C​ harlene:​ Unknown C​ harlene 8 M/F - I​rreconcilable Differences:​ Nancy Meyers and Charles Shyer C​ asey 8 F - J​uno:​ Diablo Cody J​uno 8 F - D​ irty Dancing:​ Eleanor Bergstein F​rances 9 F - F​elicity: J​.J.
    [Show full text]
  • Craig-Cvd506-Manual.Pdf
    .BJOUFOBODFBOE$BSF $BSJOHGPSUIF6OJU *ODMJOBUJPO ti5IFBQQBSBUVTTIBMMOPUCFFYQPTFEUPESJQQJOHPS t%POPUJOTUBMMUIFVOJUJOBOJODMJOFEQPTJUJPO*UJTEFTJHOFE TQMBTIJOHwBOEUIBUOPPCKFDUTGJMMFEXJUIMJRVJETIBMM UPCFPQFSBUFEJOBIPSJ[POUBMQPTJUJPOPOMZ CFQMBDFEPOUIFVOJU t*GBOZUIJOHGBMMTJOUPUIFDBCJOFU VOQMVHUIFVOJUBOEIBWF "WPJE*OUFSGFSFODF JUDIFDLFECZRVBMJGJFEQFSTPOOFMCFGPSFPQFSBUJOHJUBOZ t8IFOZPVQMBDFUIJTVOJUOFBS57 SBEJPPS7$3 UIFQJDUVSF GVSUIFS NBZCFDPNFQPPSBOEUIFTPVOENBZCFEJTUPSUFE*OUIJT DBTF NPWFUIFVOJUBXBZGSPNUIF57 SBEJPPS7$3 $MFBOJOHUIF6OJU t5PQSFWFOUGJSFPSTIPDLIB[BSE EJTDPOOFDUZPVSVOJUGSPN %JTDPOOFDU1PXFS UIF"$QPXFSTPVSDFXIFODMFBOJOH t*GZPVBSFOPUHPJOHUPVTFUIFVOJUGPSBMPOHUJNF CF t5IFGJOJTIPOZPVSVOJUNBZCFDMFBOFEXJUIBEVTUDMPUI TVSFUPEJTDPOOFDUUIFVOJUGSPNUIFXBMMPVUMFU5P BOEDBSFEGPSBTPUIFSGVSOJUVSF EJTDPOOFDUUIF"$QPXFSDPSE NBJOMFBET HSBTQUIFQMVH 6TFDBVUJPOXIFODMFBOJOHBOEXJQJOHUIFQMBTUJDQBSUT JUTFMG OFWFSQVMMUIFDPSE t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
    [Show full text]
  • Board of Directors. I Want to Make Sure That There’S a Diversity Ourselves — We Live with Them for Long Periods of of Voices Being Published by DPS
    ISSUE 16 DRAMATISTS PLAY SERVICE SPRING 2015 ROUND TABLE with JOHN PATRICK SHANLEY, Dramatists Play Service POLLY PEN, and LYNN NOTTAGE is very fortunate not just to publish and license the best BY PETER HAGAN, PRESIDENT American playwrights, but also to have four of them sit on our the publishing conversation. As a woman of always going to be slightly different from that of the color, I also see my role as one of advocacy; agents. Our plays are creative extensions of Board of Directors. I want to make sure that there’s a diversity ourselves — we live with them for long periods of of voices being published by DPS. time; we keep them close and protected until we release them into the world. The founding charter of the Play Service, back in As time has gone by, have you seen your Then we entrust our plays 1936, called for the Board to be split evenly position as a playwright member change? to others for safekeeping: between playwrights (all members of the initially agents, and eventually Dramatists Guild) and agents. Back then, the star John Patrick Shanley: When I first served on publishing companies like playwrights included Howard Lindsay, George the Board, I was skeptical and challenging DPS. For better or worse, Abbott, and Sidney Howard. Today our stars are and, frankly, young. But over time I morphed agents can approach the Donald Margulies, Polly Pen, Lynn Nottage, and from opponent to colleague. business of publishing with John Patrick Shanley, who have been members a certain level of objectivity of the board ranging from five years (Nottage) to PP: Ways of thinking about how theatrical and distance; however, it’s over 20 (Shanley).
    [Show full text]
  • February 2012.Pdf
    Newton Community Theatre 1701 S 8th Ave E, Newton, Iowa 50208 • Phone: (641) 792-1230 • www.newtontheatre.com Rodgers & Hammerstein’s Music by RICHARD RODGERS Lyrics by OSCAR HAMMERSTEIN II Book by OSCAR HAMMERSTEIN II and JOSHUA LOGAN Adapted from the Pulitzer Prizewinning novel “Tales of the South Pacific” by James A. Michener Directed by: Sue Beukema & Rachel Faidley March 16, 17, 22, 23 & 24 at 7:30 p.m. March 18 at 2 p.m. Set in an island paradise during World War II, two parallel love stories are threatened by the dangers of prejudice and war. Nellie, a spunky nurse from Arkansas, falls in love with a French planter, Emile. Nellie learns that the mother of his children was an island native and, unable to turn her back on the prejudices with which she was raised, refuses Emile's proposal of marriage. Meanwhile, the strapping Lt. Joe Cable denies himself the fulfillment of a future with an innocent Tonkinese girl with whom he's fallen in love out of the same fears that haunt Nellie. When Emile is recruited to accompany Joe on a dangerous mission that claims Joe's life, Nellie realizes that life is too short not to seize her own chance for happiness, thus confronting and conquering her prejudices. (Rated PG-13) Benefactor and patron tickets are available starting March 5. Season tickets are available on March 6 and general admission tickets are available anytime after March 7. Tickets are $17 for adults and $15 for ages 18 and younger. Call (641) 792-1230 for reservations.
    [Show full text]
  • Zap Teachers' Guide • a Play by Paul Fleischman
    CANDLEWICK PRESS Zap Teachers’ Guide • A play by Paul Fleischman THE PLAYWRIGHT Born in Monterey, California, the son of a well-known children’s book writer, Paul Fleischman grew up with stories and fell in love with words at a very early age. Yet he never really planned to be a writer. He explored various jobs, including short stints as a carpenter and a bagel baker. He eventually returned to the world of words by becoming a bookstore clerk and library aide. Then fond memories of his youth, when his father, Sid Fleischman, read aloud stories fresh from his typewriter, made Fleishman realize that writing might be a suitable career for him. He began to combine his love of music, his devotion to the past, and his keen interest in exploring new styles of writing into books for children and young adults. Joyful Noise: Poems for Two Voices won the Newbery Medal in 1989 and was performed on public radio. Zap is his first play. ABOUT THE PLAY 0-7636-2774-7 Zap leads readers, actors, and audiences on a wild and hilarious ride through theater history as seven plays collide to form an unforgettable spoof on life and social BEFORE READING THE PLAY conflict. The play opens in 1916 with an English Divide the class into six small groups, and assign each mystery loosely based on the works of Agatha Christie. group one of the following plays: The Cherry Orchard, With the zap of a remote control, the scene changes to The Mousetrap, The Glass Menagerie, The Odd Couple, a comedy similar in style to the works of Neil Simon.
    [Show full text]
  • 4.1 Unit Circle Cosine & Sine (Slides 4-To-1).Pdf
    The Unit Circle Many important elementary functions involve computations on the unit circle. These \circular functions" are called by a different name, \trigonometric functions." Elementary Functions But the best way to view them is as functions on the circle. Part 4, Trigonometry Lecture 4.1a, The Unit Circle Dr. Ken W. Smith Sam Houston State University 2013 Smith (SHSU) Elementary Functions 2013 1 / 54 Smith (SHSU) Elementary Functions 2013 2 / 54 The Unit Circle The Unit Circle The unit circle is the circle centered at the origin (0; 0) with radius 1. The radius of the circle is one, so P (x; y) is a vertex of a right triangle Draw a ray from the center of the circle out to a point P (x; y) on the with sides x and y and hypotenuse 1. circle to create a central angle θ (drawn in blue, below.) By the Pythagorean theorem, P (x; y) solves the equation x2 + y2 = 1 (1) Smith (SHSU) Elementary Functions 2013 3 / 54 Smith (SHSU) Elementary Functions 2013 4 / 54 Central Angles and Arcs Central Angles and Arcs An arc of the circle corresponds to a central angle created by drawing line segments from the endpoints of the arc to the center. The Babylonians (4000 years ago!) divided the circle into 360 pieces, called degrees. This choice is a very human one; it does not have a natural mathematical reason. (It is not \intrinsic" to the circle.) The most natural way to measure arcs on a circle is by the intrinsic unit of measurement which comes with the circle, that is, the length of the radius.
    [Show full text]