DOCSLIB.ORG

The Fluidity of Collaboration: Directing Sarah Ruhl's Eurydice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Fluidity of Collaboration: Directing Sarah Ruhl's Eurydice The Fluidity of Collaboration: Directing Sarah Ruhl’s Eurydice by Keltie Redfern Forsyth B.A., The University of Alberta, 2008 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS in The Faculty of Graduate and Postdoctoral Studies (Theatre) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) April 2016 ©Keltie Redfern Forsyth, 2016 Abstract The Fluidity of Collaboration: Directing Sarah Ruhl’s Eurydice explores the development of my directorial practice as I directed Eurydice in the UBC Department of Theatre and Film 2015-2016 season January 21 – February 6, 2016 at the Frederick Wood Theatre. The first sections of this document consists of the original script analysis I submitted as the basis for the production. This analysis traces my thinking about the play from first impressions and dominant images, through character and structural breakdown, the given circumstances of production and my intended approach to the text. The second section describes the process of producing the play, from the initial design concept meetings, the design refinement, budgeting and finalization process, casting, rehearsals and production. The bulk of this thesis, the second section focuses on how collaboration with designers, actors, coaches, stage management and technicians changed my thinking about the play. I also discuss the challenges that we faced through the design and rehearsal process, and how I attempted to overcome these challenges. The third section is a self evaluation, written after the run of Eurydice. In the evaluation, I compare my original intentions to the reality of the production, note the elements of the production I thought were generally successful, and examine the less successful aspects of the play. Specifically, I note the way that collaboration with the team of theatre artists that brought Eurydice to the stage changed my initial vision for the play. This collaborative effort brought many exciting and innovative ideas to the show, but it also diluted some of the thematic content I wanted to forward. Thus the overall question of this thesis is an exploration of the impact of collaboration on theatre creation. ii Preface This dissertation is an original, unpublished and independent work by the author, Keltie Redfern Forsyth. This document comprises the written portion of a project that includes the preparation, analysis, rehearsal and performance of Sarah Ruhl’s Eurydice directed by Keltie Forsyth and presented as a part of the UBC Department of Theatre and Film’s 2015 – 2016 season. iii Table of Contents Abstract ......................................................................................................................................... ii Preface ......................................................................................................................................... iii Table of Contents ....................................................................................................................... iv List of Figures ............................................................................................................................. vi Acknowledgements ................................................................................................................. vii Dedication ................................................................................................................................ viii Introduction ................................................................................................................................. 1 Chapter One: Play Analysis ...................................................................................................... 2 Part 1: Initial Response to the Play ................................................................................................... 2 Part 2: Type or Genre of Play ............................................................................................................ 4 Part 3: Style .......................................................................................................................................... 4 Part 4: Space ........................................................................................................................................ 5 Part 5: Audience.................................................................................................................................. 5 Part 6: Given Circumstances of Production .................................................................................... 6 Part 7: Time Period ............................................................................................................................. 7 Part 8: Emphatic Element .................................................................................................................. 7 Part 9: Theme or Idea ......................................................................................................................... 8 Part 10: Action of the Play ................................................................................................................... 11 Part 11: Dramatic Metaphor ............................................................................................................... 13 Part 12: Mood ........................................................................................................................................ 14 Part 13: Characters ............................................................................................................................... 16 Part 14: Structural Elements ............................................................................................................... 21 Part 15: Directorial Approach ............................................................................................................. 22 Part 16: Design Words ......................................................................................................................... 25 Part 17: Audience Orientation ............................................................................................................ 25 Part 18: The World of the Play ........................................................................................................... 26 Part 19: Special Problems .................................................................................................................... 27 iv Chapter Two: The Process ....................................................................................................... 28 Part 20: Initial Design Meetings ......................................................................................................... 28 Part 21: Set Design................................................................................................................................ 30 Part 22: Costume Design ..................................................................................................................... 34 Part 23: Sound Design ......................................................................................................................... 35 Part 24: Casting – Outside and Inside Actors .................................................................................. 38 Part 25: Meeting with Helen Eastman ............................................................................................... 40 Part 26: Rehearsals – Active Analysis ............................................................................................... 41 Part 27: Rehearsals – Blocking ............................................................................................................ 45 Part 28: Rehearsals – Not… But… ..................................................................................................... 46 Part 29: Rehearsals – Working Through ........................................................................................... 47 Part 30: Challenges – The Chorus ...................................................................................................... 49 Part 31: Challenges – Stilts .................................................................................................................. 52 Part 32: Lighting Design and Projection ........................................................................................... 55 Part 33: Getting onto the Stage to Opening ...................................................................................... 57 Chapter Three: Reflections ...................................................................................................... 59 Bibliography .............................................................................................................................. 61 Appendix A: Director’s Notes from the Production Program .......................................... 63 Appendix B – Performance Analysis: Eurydice ................................................................... 65 v List of Figures Figure 1: Orpheus Arrives in the Underworld ........................................................................ 2 Figure 2: Eurydice meets the Nasty Interesting Man ........................................................... 10 Figure 3: The Father Gives Eurydice a Letter ........................................................................ 14 Figure 4: The Stones Point Orpheus to the Path out of the Underworld ........................... 19 Figure 5: Orpheus Travels to the Underworld
Load more

Recommended publications
  • 2017Seasonpressrelea
    Crowded Fire Theater FOR IMMEDIATE RELEASE: Contact: Tiffany Cothran (415) 523-0034 [email protected] CROWDED FIRE THEATER’S 2017 SEASON WITH PLAYS BY MIA CHUNG AND PLAYWRIGHT-IN-RESIDENCE CHRISTOPHER CHEN YOU FOR ME FOR YOU by Mia Chung, March 9-April 1 A TALE OF AUTUMN by Christopher Chen, September 14-October 7 Translated by Rachel Willson-Broyles Presented at the Thick House 1695 18th St, San Francisco San Francisco - Crowded Fire Theater (CFT) Crowded Fire’s Artistic Director Mina ​ Morita unveiled the 2017 mainstage season lineup including two contemporary plays that continue to uphold the company’s long tradition of producing boundary - pushing, thought-provoking theater. At a season-announcement party on Saturday, November th 19 ​ Morita addressed Crowded Fire donors, patrons, and artists saying “We are a ​ ​ ​ divided country in the midst of a divisive time. It is more important now, more than ever to use our creative and critical thought to mine our cultural memory and to interrogate ​ our existence. I am thrilled to present selections next season that do just that.” Crowded Fire‘s 2016 season begins with the Bay Area premiere of Mia Chung’s YOU FOR ME FOR YOU (3/9-4/1), a heart-wrenching and magical tale of two North Korean sisters divided in their patriotism and separated in their attempt to leave North Korea for the United States. YOU FOR ME FOR YOU will be directed by M. Graham Smith. The mainstage season concludes with local favorite Christopher Chen’s world premiere of A TALE OF AUTUMN (9/14-10/7), a Crowded Fire commissioned piece born from a deep mutual concern over the ever-increasing power of corporate personhood in present day capitalism.
    [Show full text]
  • The ONE and ONLY Ivan
    KATHERINE APPLEGATE The ONE AND ONLY Ivan illustrations by Patricia Castelao Dedication for Julia Epigraph It is never too late to be what you might have been. —George Eliot Glossary chest beat: repeated slapping of the chest with one or both hands in order to generate a loud sound (sometimes used by gorillas as a threat display to intimidate an opponent) domain: territory the Grunt: snorting, piglike noise made by gorilla parents to express annoyance me-ball: dried excrement thrown at observers 9,855 days (example): While gorillas in the wild typically gauge the passing of time based on seasons or food availability, Ivan has adopted a tally of days. (9,855 days is equal to twenty-seven years.) Not-Tag: stuffed toy gorilla silverback (also, less frequently, grayboss): an adult male over twelve years old with an area of silver hair on his back. The silverback is a figure of authority, responsible for protecting his family. slimy chimp (slang; offensive): a human (refers to sweat on hairless skin) vining: casual play (a reference to vine swinging) Contents Cover Title Page Dedication Epigraph Glossary hello names patience how I look the exit 8 big top mall and video arcade the littlest big top on earth gone artists shapes in clouds imagination the loneliest gorilla in the world tv the nature show stella stella’s trunk a plan bob wild picasso three visitors my visitors return sorry julia drawing bob bob and julia mack not sleepy the beetle change guessing jambo lucky arrival stella helps old news tricks introductions stella and ruby home
    [Show full text]
  • Precious but Not Precious UP-RE-CYCLING
    The sounds of ideas forming , Volume 3 Alan Dunn, 22 July 2020 presents precious but not precious UP-RE-CYCLING This is the recycle tip at Clatterbridge. In February 2020, we’re dropping off some stuff when Brigitte shouts “if you get to the plastic section sharpish, someone’s throwing out a pile of records.” I leg it round and within seconds, eyes and brain honed from years in dank backrooms and charity shops, I smell good stuff. I lean inside, grabbing a pile of vinyl and sticking it up my top. There’s compilations with Blondie, Boomtown Rats and Devo and a couple of odd 2001: A Space Odyssey and Close Encounters soundtracks. COVER (VERSIONS) www.alandunn67.co.uk/coverversions.html For those that read the last text, you’ll enjoy the irony in this introduction. This story is about vinyl but not as a precious and passive hands-off medium but about using it to generate and form ideas, abusing it to paginate a digital sketchbook and continuing to be astonished by its magic. We re-enter the story, the story of the sounds of ideas forming, after the COVER (VERSIONS) exhibition in collaboration with Aidan Winterburn that brings together the ideas from July 2018 – December 2019. Staged at Leeds Beckett University, it presents the greatest hits of the first 18 months and some extracts from that first text that Aidan responds to (https://tinyurl.com/y4tza6jq), with me in turn responding back, via some ‘OUR PRICE’ style stickers with quotes/stats. For the exhibition, the mock-up sleeves fabricated by Tom Rodgers look stunning, turning the digital detournements into believable double-sided artefacts.
    [Show full text]
  • Dead Man's Cell Phone Media Release
    FOR IMMEDIATE RELEASE PROFILE THEATRE PRESS CONTACT: Natalie Genter-Gilmore, Marketing and Communications Manager PH: 503.242.0080 [email protected] DEAD MAN’S CELL PHONE By Sarah Ruhl January 29 – February 15, 2015 PORTLAND, Ore., January 8, 2015 – PROFILE THEATRE (Adriana Baer, Artistic Director) proudly presents Dead Man’s Cell Phone by Sarah Ruhl. Performances run January 29 – February 15, 2015 on the Morrison Stage at Artists Repertory Theatre. Tickets are currently on sale at Profiletheatre.org. Dead Man’s Cell Phone is the first production in Profile Theatre’s 2015 Season dedicated to the works of playwright Sarah Ruhl. “Sarah Ruhl is interested in exploring a reciprocity with the audience. How can we invite you to be in relationship with the stage instead of just observing it from afar?” says Adriana Baer, Profile Artistic Director and director of Dead Man’s Cell Phone. “Perhaps it is by casting a light onto something we all recognize - an object as basic as a cell phone - and using that to show something greater, something magnificent about the human condition.” In Dead Man’s Cell Phone, as Jean takes possession of the cell phone of a dead man, she is thrown into a mysterious journey of self-discovery and awakening. Through this small modern device, she finds adventure, purpose and even love – but at what cost? This hilarious and paradoxical treatise on the digital world probes at the thin line between reality and fantasy, privacy and openness, and even life and death. Cast The cast for Dead Man’s Cell Phone features Dana Millican (Last seen at Profile in 2012’s Fifth of July), Don Kenneth Mason (Last seen at Profile in 2013’s Blood Knot), Patricia Hunter and Dana Green.
    [Show full text]
  • ACT Early Milestone Moments
    Milestone Moments Learn the Signs. Act Early. Learn the Signs. Act Early. www.cdc.gov/milestones 1-800-CDC-INFO Adapted from CARING FOR YOUR BABY AND YOUNG CHILD: BIRTH TO AGE 5, Fifth Edition, edited by Steven Shelov and Tanya Remer Altmann © 1991, 1993, 1998, 2004, 2009 by the American Academy of Pediatrics and You can follow your child’s development by watching how he or BRIGHT FUTURES: GUIDELINES FOR HEALTH SUPERVISION OF INFANTS, CHILDREN, AND ADOLESCENTS, Third she plays, learns, speaks, and acts. Edition, edited by Joseph Hagan, Jr., Judith S. Shaw, and Paula M. Duncan, 2008, Elk Grove Village, IL: American Academy of Pediatrics. Special acknowledgements to Susan P. Berger, PhD; Jenny Burt, PhD; Margaret Greco, MD; Katie Green, MPH, Look inside for milestones to watch for in your child and how you CHES; Georgina Peacock, MD, MPH; Lara Robinson, PhD, MPH; Camille Smith, MS, EdS; Julia Whitney, BS; and can help your child learn and grow. Rebecca Wolf, MA. Centers for Disease Centers for Disease Control and Prevention Control and Prevention www.cdc.gov/milestones www.cdc.gov/milestones 1-800-CDC-INFO 1-800-CDC-INFO 220788 Milestone Moments How your child plays, learns, speaks, and acts offers important clues about your child’s development. Developmental milestones are things most children can do by a certain age. The lists that follow have milestones to look for when your child is: 2 Months ............................................................... page 3 – 6 Check the milestones your child has reached at each age. 4 Months ............................................................... page 7 –10 Take this with you and talk with your child’s doctor at every visit about the milestones your child has reached and what to 6 Months ..............................................................
    [Show full text]
  • Sarah Ruhl’S Singular Voice
    SHOW GUIDE April 24 to May 15, 2020 Hilberry Theatre Inside Dear Educators THE PLAY Synopsis, Characters, Setting 2 Wayne State University is proud to produce plays for young people’s The Play 3 enjoyment and to actively explore the beauty, diversity, complexity and challenges of the world around them through the dramatic THE CREATORS arts. We wish to support the development of their creative voice, The Playwright 4 imagination, and understanding of drama and its role in our global society. CURRICULUM SUPPORT Activities presented assist in achieving the Michigan Common Core State Standards (MI-CCSS) This play guide is designed to be a tool in helping you prepare Speaking and Listening 5/6 your students for our performance as well as extend the production Writing 6/7 experience back into the classroom. History/Social Studies 7 Differentiated Learning Activities 8/9 Activities presented assist in achieving the Michigan Common Core State Standards (MI-CCSS). THE THEATRE Location and Seating 10 Your comments and suggestions about this guide, presentation First Time Visitor’s Guide 11 and/or programming are welcome. Email [email protected]. MORE TO SEE 12 Your Students’ Role You may wish to have a discussion with your students before attending the play. Remind your students that they have an important role to play at the performance being the audience. It is because of the audience that the theatre exists. It will be their energy and response that will directly affect the actors onstage. Young audiences should be reminded that live theatre is not like watching TV, a movie or DVD; the actors cannot pause or be rewound, there are no commercial breaks for running to the bathroom, the volume cannot be turned up to hear better if someone other than the actors are talking.
    [Show full text]
  • Sarah Ruhl: a Comprehensive Analysis of the Clean House, Eurydice, Passion Play, Dead Man’S Cell Phone and in the Next Room Or the Vibrator Play
    Sarah Ruhl: A Comprehensive Analysis of The Clean House, Eurydice, Passion Play, Dead Man’s Cell Phone and In The Next Room or the Vibrator Play by Heather Welch, B.F.A. A Thesis In THEATRE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTERS OF ARTS Approved William Gelber, Ph.D. Chair of Committee Bruce Hermann, M.F.A. Peggy Miller Dean of the Graduate School May, 2012 Copyright 2012, Heather Welch Texas Tech University, Heather Welch, May 2012 ACKNOWLEDGMENTS I would be remiss if I didn’t thank several people who have been instrumental to the process of writing this thesis and to my development as a student of the theatre. First and foremost, I would like to thank the members of my committee, Dr. Bill Gelber and Bruce Hermann. Dr. Gelber’s guidance throughout the entire process and his probing questions and thorough reviews of each chapter during the editing process has been extremely beneficial to this project. Bruce Hermann also has provided helpful insight and critical questions that shaped the methodology of this thesis and ultimately, the project is better because of it. I am indebted to both of them for their guidance, their kindness and for reassuring me when I was “in the weeds.” I must also give thanks to Dr. Norman Bert. It was in his Dramatic Analysis class in Fall 2010 that I first attempted to write about Sarah Ruhl. Once the semester was over, I realized that I was not quite done with writing about her.
    [Show full text]
  • The Complete Poetry of James Hearst
    The Complete Poetry of James Hearst THE COMPLETE POETRY OF JAMES HEARST Edited by Scott Cawelti Foreword by Nancy Price university of iowa press iowa city University of Iowa Press, Iowa City 52242 Copyright ᭧ 2001 by the University of Iowa Press All rights reserved Printed in the United States of America Design by Sara T. Sauers http://www.uiowa.edu/ϳuipress No part of this book may be reproduced or used in any form or by any means without permission in writing from the publisher. All reasonable steps have been taken to contact copyright holders of material used in this book. The publisher would be pleased to make suitable arrangements with any whom it has not been possible to reach. The publication of this book was generously supported by the University of Iowa Foundation, the College of Humanities and Fine Arts at the University of Northern Iowa, Dr. and Mrs. James McCutcheon, Norman Swanson, and the family of Dr. Robert J. Ward. Permission to print James Hearst’s poetry has been granted by the University of Northern Iowa Foundation, which owns the copyrights to Hearst’s work. Art on page iii by Gary Kelley Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Hearst, James, 1900–1983. [Poems] The complete poetry of James Hearst / edited by Scott Cawelti; foreword by Nancy Price. p. cm. Includes index. isbn 0-87745-756-5 (cloth), isbn 0-87745-757-3 (pbk.) I. Cawelti, G. Scott. II. Title. ps3515.e146 a17 2001 811Ј.52—dc21 00-066997 01 02 03 04 05 c 54321 01 02 03 04 05 p 54321 CONTENTS An Introduction to James Hearst by Nancy Price xxix Editor’s Preface xxxiii A journeyman takes what the journey will bring.
    [Show full text]
  • Read Greyrock Review
    GREYROCK REVIEW 2021 Greyrock Review is Colorado State University’s journal of undergradu- ate art and literature. Published annually in the spring through the English Department, Greyrock Review is a student-run publication. Submissions: Th e journal accepts submissions for art, poetry, creative Managing Editor nonfi ction, and fi ction each year in the fall from undergraduate Emily Byrne students of all majors at Colorado State University. Poetry Editor Sarahy Quintana Trejo Special thanks to the Lilla B. Morgan Memorial Endowment for the Arts for providing a grant to make this year’s publication possible. Th e Associate Poetry Editor Melissa Downs Lilla B. Morgan Memorial Endowment for the Arts provides grants to support art, music, humanities, literature, and the performing arts. Fiction Editor Mira Martin Cover Art by Samantha Homan Associate Fiction Editors Katie Harrigan Cover Design by Katrina Clasen Brendon Shepherd Logo Design by Renee Haptonstall © 2021 Greyrock Review Creative Non ction Editor Cody Cooke All rights reserved. No part of this publication may be reproduced, in Associate Non ction Editor any form or by any means, without prior written consent from Aubrie Dickson Greyrock Review. Typesetter & Designer Katrina Clasen Greyrock Review Department of English Social Media Manager Katie Harrigan Colorado State University 359 Eddy Hall Graduate Advisor Carolyn Janecek Fort Collins, CO 80523 English.colostate.edu/greyrock/ Faculty Advisor Stephanie G’Schwind Printed in the United States. Sponsors Lilla B. Morgan Memorial Endowment CSU English Department POETRY FICTION Audrey Heffelfinger 8 Papa Maia Coen 13 City Lights Brynn McCall 10 beast / body Sydney James 45 Real Girl Maia Coen 23 Spider’s Silk Kate Breding 68 Miss A Kayla Henn 33 tears aren’t a woman’s only weapon PJ Farrar 35 conjecture, surmise, theorize (or: just wondering why) 80 The Kindly One Ethan Hanson Abigail Wolschon 44 A Revolution Poem 103 Cave Hunters Charlie Dillon 58 to all the Selves that i have been: No.
    [Show full text]
  • JUST out of REACH: the ELUSIVE QUEST to MEASURE the DIGITAL ECONOMY 2 Special Thanks + Acknowledgements
    JUNE 2021 Just Out of Reach THE ELUSIVE QUEST TO MEASURE THE DIGITAL ECONOMY Authors VIET VU STEVEN DENNEY SENIOR ECONOMIST, POSTDOCTORAL FELLOW, BROOKFIELD INSTITUTE INNOVATION POLICY LAB Viet is a Senior Economist at the Brookfield Steven is a Postdoctoral Research Fellow in the Institute for Innovation + Entrepreneurship. Viet Innovation Policy Lab at Munk School of Global is interested in how governments and companies Affairs and Public Policy, University of Toronto, can intentionally design policies and markets and a collaborator for the Brookfield Institute for to drive human behaviour. He is also fascinated Innovation + Entrepreneurship. His research spans by how the world adapts to the emergence of the fields of comparative political economy and new types of markets, as legal frameworks often (im)migration and citizenship. Steven holds a PhD lag behind. Viet holds a Master of Science in in Political Science from the University of Toronto, Economics from the London School of Economics an MA in Global Affairs and Policy from Yonsei & Political Science and a Bachelor of Arts in University, and a BA in Political Science from Economics with Honours from the University of Harding University. British Columbia. [email protected] | @StevenDenney86 [email protected] | @vviet93 The Brookfield Institute for Innovation + For more information, visit brookfieldinstitute.ca Entrepreneurship (BII+E) is an independent, 20 Dundas St. W, Suite 921, Toronto, ON M5G 2C2 non-partisan policy institute, housed at Ryerson University. We work to transform bold ideas into /BrookfieldIIE real-world solutions designed to help Canada navigate the complex forces and astounding @BrookfieldIIE possibilities of the innovation economy.
    [Show full text]
  • Queens Park Music Club
    Alan Currall BBobob CareyCarey Grieve Grieve Brian Beadie Brian Beadie Clemens Wilhelm CDavidleme Hoylens Wilhelm DDavidavid MichaelHoyle Clarke DGavinavid MaitlandMichael Clarke GDouglasavin M aMorlanditland DEilidhoug lShortas Morland Queens Park Music Club EGayleilidh MiekleShort GHrafnhildurHalldayle Miekle órsdóttir Volume 1 : Kling Klang Jack Wrigley ó ó April 2014 HrafnhildurHalld rsd ttir JJanieack WNicollrigley Jon Burgerman Janie Nicoll Martin Herbert JMauriceon Burg Dohertyerman MMelissaartin H Canbazerbert MMichelleaurice Hannah Doherty MNeileli Clementsssa Canbaz MPennyichel Arcadele Hannah NRobeil ChurmClements PRoben nKennedyy Arcade RobRose Chu Ruanerm RoseStewart Ruane Home RobTom MasonKennedy Vernon and Burns Tom Mason Victoria Morton Stuart Home Vernon and Burns Victoria Morton Martin Herbert The Mic and Me I started publishing criticism in 1996, but I only When you are, as Walter Becker once learned how to write in a way that felt and still sang, on the balls of your ass, you need something feels like my writing in about 2002. There were to lift you and hip hop, for me, was it, even very a lot of contributing factors to this—having been mainstream rap: the vaulting self-confidence, unexpectedly bounced out of a dotcom job that had seesawing beat and herculean handclaps of previously meant I didn’t have to rely on freelancing Eminem’s armour-plated Til I Collapse, for example. for income, leaving London for a slower pace of A song like that says I am going to destroy life on the coast, and reading nonfiction writers everybody else. That’s the braggadocio that hip who taught me about voice and how to arrange hop has always thrived on, but it is laughable for a facts—but one of the main triggers, weirdly enough, critic to want to feel like that: that’s not, officially, was hip hop.
    [Show full text]
  • Objectives for Development & Learning
    Objectives for Development & Learning Social–Emotional Language 1. Regulates own emotions and behaviors 8. Listens to and understands increasingly a. Manages feelings complex language b. Follows limits and expectations a. Comprehends language c. Takes care of own needs appropriately b. Follows directions 2. Establishes and sustains positive relationships 9. Uses language to express thoughts and needs a. Forms relationships with adults a. Uses an expanding expressive vocabulary b. Responds to emotional cues b. Speaks clearly c. Interacts with peers c. Uses conventional grammar d. Makes friends d. Tells about another time or place 3. Participates cooperatively and constructively 10. Uses appropriate conversational and other in group situations communication skills a. Balances needs and rights of self and others a. Engages in conversations b. Solves social problems b. Uses social rules of language Physical Cognitive 4. Demonstrates traveling skills 11. Demonstrates positive approaches to learning 5. Demonstrates balancing skills a. Attends and engages b. Persists 6. Demonstrates gross-motor manipulative skills c. Solves problems 7. Demonstrates fine-motor strength d. Shows curiosity and motivation and coordination e. Shows flexibility and inventiveness in thinking a. Uses fingers and hands 12. Remembers and connects experiences b. Uses writing and drawing tools a. Recognizes and recalls b. Makes connections 13. Uses classification skills 14. Uses symbols and images to represent something not present a. Thinks symbolically b. Engages in sociodramatic play Objectives for Development & Learning: Birth Through Kindergarten Literacy Science and Technology 15. Demonstrates phonological awareness 24. Uses scientific inquiry skills a. Notices and discriminates rhyme 25. Demonstrates knowledge of the characteristics b. Notices and discriminates alliteration of living things c.
    [Show full text]