DOCSLIB.ORG

Practical Dramaturgy for Actors: Applying Resources of The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Practical Dramaturgy for Actors: Applying Resources of The PRACTICAL DRAMATURGY FOR ACTORS: APPLYING RESOURCES OF THE OREGON SHAKESPEARE FESTIVAL TO THE CHALLENGES OF LANGUAGE AND PREPARATION by PATRICIA D. RODLEY A DISSERTATION Presented to the Department of Theater Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2014 DISSERTATION APPROVAL PAGE Student: Patricia D. Rodley Title: Practical Dramaturgy for Actors: Applying Resources of the Oregon Shakespeare Festival to the Challenges of Language and Preparation This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theater Arts by: John Schmor Chairperson Theresa May Core Member Michael Najjar Core Member Forest Pyle Institutional Representative and J. Andrew Berglund Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2014 ii © 2014 Patricia D. Rodley iii DISSERTATION ABSTRACT Patricia D. Rodley Doctor of Philosophy Department of Theater Arts December 2014 Title: Practical Dramaturgy for Actors: Applying Resources of the Oregon Shakespeare Festival to the Challenges of Language and Preparation This dissertation investigates the relationship between acting and dramaturgy. It proposes a change in the contemporary actor’s work to more purposefully integrate practical dramaturgy as a preparation that parallels character analysis. Despite how the actor’s focus frequently aligns with character, current trends in American playwriting suggest a need for a different approach as well because many plays defy expectations for the kind of naturalistic, character-driven acting that suits plays written in the style of realism. New playwriting, especially as codified by Paul C. Castagno, reflects a need for the actor to focus on other dramaturgical structures. In response, this dissertation considers the actor’s dramaturgical approach. It expands upon Geoffrey Proehl’s concept of “dramaturgical sensibility” as it relates to the dramaturg and explores the actor’s dramaturgical sensibility. Research into production processes at the Oregon Shakespeare Festival reveals a scope for the actor’s dramaturgical sensibility through three kinds of awareness beyond character: story, language, and performance structures. This foundation then informs a proposed process of dramaturgical script analysis, which functions as a practical dramaturgy for actors. This project also includes a secondary case study related to a University of iv Oregon production of Tom Stoppard’s Arcadia, which helps to establish the components of dramaturgical script analysis for actors. In order to consider a benefit for actors in response to new playwriting strategies, the same components are then applied to two contemporary plays: Apparition: An Uneasy Play of the Underknown by Anne Washburn and God’s Ear by Jenny Schwartz. The process overall reveals a persistent binary related to internal and external preparation for actors and a resistance to new methods owing to lack of time in processes of contemporary theatrical production. Ultimately, however, outcomes also suggests how a practical dramaturgy for actors may expand the actor’s work in any context and may support various theatrical production processes in the United States by maximizing the actor’s ability to discern the needs of a play. v CURRICULUM VITAE NAME OF AUTHOR: Patricia D. Rodley GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene The Central School of Speech and Drama, London DEGREES AWARDED: Doctor of Philosophy, Theater, 2014, University of Oregon Master of Arts, Classical Acting, 2005, The Central School of Speech and Drama Bachelor of Arts, Theater and English, 1994, University of Oregon AREAS OF SPECIAL INTEREST: Actor Training Classical Acting Shakespeare, Moliere Dramaturgy Classical texts, new playwriting, plays in development Voice and Text PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon 2010-2014 Co-Artistic Director, Mad Duckling Children’s Theatre, 2011-2012 Learning Coordinator, Cushman & Wakefield Learning Institute, 2007-2012 Founding Member, Printer’s Devil Theatre, 1995-2001 GRANTS, AWARDS, AND HONORS: Arnold, Isabelle, and Rupert Marks Graduate Scholarship, Department of Theater Arts, University of Oregon, 2011-2014 Graduate Research and Travel Grant, Department of Theater Arts, University of Oregon, 2011-2014 vi ACKNOWLEDGMENTS Many thanks are owed to John Schmor as my advisor and also my Chair for this project. It definitely does not go without saying. Michael Najjar and Theresa May generously questioned and guided me as well. Before the process began, Tres Pyle helped me to get here, and then helped my writing to go further. I would not have much of this content or much of my inspiration without the willing participation of Scott Kaiser, David Carey, Rebecca Clark Carey and Lue Morgan Douthit. I thank them very kindly. Two people at the OSF Archives have also been instrumental in helping me pull together Festival research: Debra Griffith and Maria DeWeerdt. I owe much gratitude to the students from the Arcadia case study as well for helping me to learn with and from their processes. Sara Freeman helped me to frame the first associations with dramaturgy, and this project also builds on work that began for me at Central with Rob Clare. For their kind words, willing ears, and sustenance, I greatly appreciate Toni Rodley, May-Britt Ostersen, Susan Tate, Zeina Salame, Kori Rodley, and Teri Schlesinger. Jean Manning put the fire under me when I needed it most, reminding me to make every day count. vii For my family: near, far, and already gone on. You remind me that I’m always part of something bigger. And for Ron and Toni, who showed me how to work hard every day and taught me to use my imagination. viii TABLE OF CONTENTS Chapter Page I. INTRODUCTION.................................................................................................... 1 Notes ...................................................................................................................... 12 II. ESTABLISHING A DRAMATURGICAL VOCABULARY ............................... 14 New Playwriting/Language Playwrights ............................................................... 15 Why Dramaturgy?.................................................................................................. 35 How Does Dramaturgy Currently Inform the Actor’s Work?............................... 49 Prepare for an Unknown Journey – Redefining Mode .......................................... 63 To Listen/To Question – The Actor’s Dramaturgical Voice ................................. 73 Summary................................................................................................................ 76 Notes ...................................................................................................................... 77 III. THE OREGON SHAKESPEARE FESTIVAL – A DRAMATURGICAL CASE STUDY ........................................................................................................................ 80 Direct and Indirect Resources................................................................................ 81 Direct Resources .................................................................................................... 86 Indirect Resources.................................................................................................. 120 Summary................................................................................................................ 142 Notes ...................................................................................................................... 142 IV. THE ACTOR’S DRAMATURGICAL SENSIBILITY ........................................ 145 Dramaturgical Script Analysis............................................................................... 148 Story Structures...................................................................................................... 152 Language Structures............................................................................................... 178 ix Chapter Page Performance Structures.......................................................................................... 203 Summary................................................................................................................ 218 Notes ...................................................................................................................... 220 V. PRACTICAL DRAMATURGY FOR ACTORS ................................................... 222 Apparition: An Uneasy Play of the Underknown .................................................. 228 God’s Ear............................................................................................................... 252 Summary................................................................................................................ 278 Notes ...................................................................................................................... 279 VI. ENVISIONING A PRACTICAL DRAMATURGY FOR ACTORS................... 280 Production Concerns.............................................................................................. 286 Final Departures..................................................................................................... 292 APPENDICES A. OSF FINANCIAL
Load more

Recommended publications
  • Thesis Slabaugh Ms072117
    THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Arts Melanie J. Slabaugh August, 2017 THE NECESSITY AND FUNCTION OF THE DRAMATURG IN THEATRE Melanie J. Slabaugh Thesis Approved: Accepted: ______________________________ ______________________________ Advisor School Director James Slowiak J. Thomas Dukes, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the College Durand L. Pope John Green, Ph.D. ______________________________ ______________________________ Faculty Reader Dean of the Graduate School Hillary Nunn, Ph.D. Chand Midha, Ph.D. ii TABLE OF CONTENTS CHAPTER I. INTRODUCTION ……………………………………………………………….. 5 II. HISTORY AND DESCRIPTION OF DRAMATURGY ……………………… 3 Gotthold Ephraim Lessing and the Hamburg National Theatre ……… 4 Lessing’s Influence on the Dramaturgical Movement …………………. 8 Dramaturgy in American Theatre ……………………………………….. 16 III. PRODUCTION DRAMATURGY ……………………………………………. 13 The Production Dramaturg/Director Relationship ……………………. 15 New Production Dramaturgies …………………………………………… 18 IV. NEW PLAY DEVELOPMENT ………………………………………………… 20 The Role of the Dramaturg in New-Play Development …………..…… 22 The Dramaturg as Supporter ………………………………………..….… 22 The Dramaturg as Guardian ………………………………..………….…. 26 The Dramaturg as Questioner …………………………………..……….. 29 V. DEVISED THEATRE ………………………………………….…………..……. 32 The Tasks of the Dramaturg in Devised Theatre ………………….….…
    [Show full text]
  • “Almost Invisible Until Now” Antigone, Ismene, and the Dramaturgy of Tragedy
    NORDIC THEATRE STUDIES Vol. 31, No. 1. 2019, 141-154 “almost invisible until now” Antigone, Ismene, and the Dramaturgy of Tragedy KRISTINA HAGSTRÖM-STÅHL ABSTRACT This essay discusses Sophocles’ Antigone in relation to its Hegelian legacy, engaging with the play from a directorial perspective. Drawing on the work of Judith Butler, Anne Carson , Bonnie Honig, Peggy Phelan and Cecilia Sjöholm, I attempt to envision a contemporary mise en scène that repositions feminine subjectivity within the dramaturgy of tragedy. Centering on the relationship between Antigone and Ismene, as well as on the possibility of revaluing Ismene’s position in terms of political and dramaturgical agency, I hope to challenge dramaturgical conventions that assume binary, heteronormative relations as the primary framework of interpretation for female characters, and death and destruction as the only possible outcome for what is positioned as feminine. This resituated reading of the drama examines the function of embodied performance in processes of meaning-making, and offers dramaturgical structure as a site for strategies of resistance. KEYWORDS dramaturgy, tragedy, Hegelian dialectics, feminist theory, performance practice ISSN 2002-3898 © Kristina Hagström-Ståhl and Nordic Theatre Studies PEER REVIEWED ARTICLE Open access: https://tidsskrift.dk/nts/index Published with support from Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS) DOI: 10.7146/nts.v31i1.113013 “almost invisible until now” “almost invisible until now” Antigone, Ismene, and the Dramaturgy of Tragedy1 Elle pense qu’elle va mourir, qu’elle est jeune, et qu’elle aussi, elle aurait bien aimé vivre. Mais il n’y a rien à faire.
    [Show full text]
  • Dramaturgy Handbook
    Marat/Sade Emerson Stage 2007-08 Photo Brendan Koons DRAMATURGY STUDENT HANDBOOK Compiled by Magda Romanska, Ph.D. Head of Theatre Studies and Dramaturgy Advisor Emerson College Department of Performing Arts 120 Boylston St Boston, MA 02116 [email protected] 2 TTAABBLLEE OOFF CCOONNTTEENNTTSS WHAT IS DRAMATURGY? ........................................................................... 4 DRAMATURGY AND THE LIBERAL ARTS ............................................... 6 INSTITUTIONAL DRAMATURGY .............................................................. 7 PRODUCTION DRAMATURGY ................................................................. 9 AMERICAN VS. EUROPEAN DRAMATURGY ........................................ 13 DRAMATURGY PORTFOLIO .................................................................... 14 RECOMMENDATION LETTERS ............................................................... 15 DRAMATURGY CAREER RESOURCES ............................................... 17 INTERNSHIPS ......................................................................................... 17 GRADUATE PROGRAMS - M.F.A. /Ph.D. ............................................... 24 JOURNALS ......................................................................................................28 CONFERENCES & ORGANIZATIONS .................................................... 49 OTHER CAREER RESOURCES ............................................................. 53 DRAMATURGY BEYOND THEATRE DRAMATURGY FOR FILM SCRIPTS.....................................................
    [Show full text]
  • Reconsidering Brechtian Elements in Process Drama1
    Ankara University, Journal of Faculty of Educational Sciences, Year: 2015, Vol: 48, No: 2, 19-36 Reconsidering Brechtian Elements in Process Drama1 Özgehan UŞTUK, MA Balıkesir University [email protected] ABSTRACT. It is known that process drama is parallel to non-Aristotelian structure of Brecht’s epic theatre in certain ways. Techniques and structure as the elements of these two notions (O’Neill’s process drama and Brecht’s epic theatre) resemble to each other not only by the usage and also by the relationship between the process and the participants as well. Brecht intended to engage actively with the audience and makes them engage with the play critically; similarly in process drama structures, participants are actively engaged with the material and the theme of the work. Moreover, in process drama, participants are assigned as meaning-makers throughout the process since they actively shouldered the role of writer, director, actor/actress and the audience. This quality lets them engage with the process in ways that are not only aesthetic but also critical and purposeful. Thus, there are also some elements that Brechtian plays and O'Neill's structures may share but they are included with different intentions. Taking all the similarities and differences that can be referred from texts into consideration, it can be suggested that further discussion is needed to reveal the dichotomy. This paper intends to build a direct link between drama in education and theatre and to explain this link from a structural point of view by comparing and contrasting examples from plays of Brecht and process drama sessions of O'Neill.
    [Show full text]
  • Demarcating Dramaturgy
    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
    [Show full text]
  • Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory As Discourse
    ORE Open Research Exeter TITLE Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse AUTHORS Ley, Graham JOURNAL Asian Theatre Journal DEPOSITED IN ORE 26 January 2009 This version available at http://hdl.handle.net/10036/48013 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Aristotle's Poetics, Bharatamuni's Natyasastra, and Zeami's Treatises: Theory as Discourse Author(s): Graham Ley Source: Asian Theatre Journal, Vol. 17, No. 2 (Autumn, 2000), pp. 191-214 Published by: University of Hawai'i Press Stable URL: http://www.jstor.org/stable/1124489 Accessed: 26/01/2009 04:32 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=uhp. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission.
    [Show full text]
  • Leopold and Wolfgang Mozart's View of the World
    Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World by Thomas McPharlin Ford B. Arts (Hons.) A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy European Studies – School of Humanities and Social Sciences University of Adelaide July 2010 i Between Aufklärung and Sturm und Drang: Leopold and Wolfgang Mozart’s View of the World. Preface vii Introduction 1 Chapter 1: Leopold Mozart, 1719–1756: The Making of an Enlightened Father 10 1.1: Leopold’s education. 11 1.2: Leopold’s model of education. 17 1.3: Leopold, Gellert, Gottsched and Günther. 24 1.4: Leopold and his Versuch. 32 Chapter 2: The Mozarts’ Taste: Leopold’s and Wolfgang’s aesthetic perception of their world. 39 2.1: Leopold’s and Wolfgang’s general aesthetic outlook. 40 2.2: Leopold and the aesthetics in his Versuch. 49 2.3: Leopold’s and Wolfgang’s musical aesthetics. 53 2.4: Leopold’s and Wolfgang’s opera aesthetics. 56 Chapter 3: Leopold and Wolfgang, 1756–1778: The education of a Wunderkind. 64 3.1: The Grand Tour. 65 3.2: Tour of Vienna. 82 3.3: Tour of Italy. 89 3.4: Leopold and Wolfgang on Wieland. 96 Chapter 4: Leopold and Wolfgang, 1778–1781: Sturm und Drang and the demise of the Mozarts’ relationship. 106 4.1: Wolfgang’s Paris journey without Leopold. 110 4.2: Maria Anna Mozart’s death. 122 4.3: Wolfgang’s relations with the Weber family. 129 4.4: Wolfgang’s break with Salzburg patronage.
    [Show full text]
  • Do Tropical Typhoons Smash Community Ties? Theory and Evidence from Vietnam
    Do tropical typhoons smash community ties? Theory and Evidence from Vietnam Yanos Zylberberg∗ Paris School of Economics Preliminary and incomplete draft Abstract In rural economies, risk-sharing arrangements through networks of relatives and friends are common. Indeed, contract enforcement issues impede the development of formal insurance mechanisms. However, after a disruption of the allocative instru- ments of the market, the prerequisites under which informal arrangements are feasible might evolve. I rely on a model of imperfect commitment to derive predictions on the sustainability of risk-sharing arrangements in the aftermath of extreme events. I then test these predictions on a representative panel data in Vietnam, using tropical ty- phoons trails and wind structures. The estimation of a structural equation derived by the theory is compatible with a model of imperfect commitment where the aftermath of natural disasters is associated with stronger enforcement mechanisms at commune level. Allowing for altruistic sentiments or coordination among the members of a community, I find that a resurgence of charity or a higher level of cooperation explain this unexpected result. The influence of pre-disaster social norms and existing ties to prevent disruption of integrative mechanisms in the community gives support to this interpretation. Finally, communities having already suffered important trauma show greater signs of resilience. Keywords: Natural disasters, informal insurance, coordination, imperfect commit- ment. JEL classification: D85, O12, O17, Z13 ∗PhD Candidate, Paris School of Economics, 48 Boulevard Jourdan, 75014 Paris. Phone: (33)1 43 13 63 14. Email: [email protected]. I thank the Joint Typhoon Warning Center, the National Archives and Records Administration, and the Centre for Research on the Epidemiology of Disasters for providing the data.
    [Show full text]
  • Review: the Journal of Dramaturgy, Volume 23, Issue 1
    University of Puget Sound Sound Ideas LMDA Review Other Publications Summer 2013 Review: The ourJ nal of Dramaturgy, volume 23, issue 1 Sydney Cheek-O'Donnell Vicki Stroich Martine Kei Greene-Rodgers Curtis Russell Will Daddario See next page for additional authors Follow this and additional works at: https://soundideas.pugetsound.edu/lmdareview Recommended Citation Cheek-O'Donnell, Sydney; Stroich, Vicki; Greene-Rodgers, Martine Kei; Russell, Curtis; Daddario, Will; Hollingshaus, Wade; and Becker, Becky, "Review: The ourJ nal of Dramaturgy, volume 23, issue 1" (2013). LMDA Review. 46. https://soundideas.pugetsound.edu/lmdareview/46 This Book is brought to you for free and open access by the Other Publications at Sound Ideas. It has been accepted for inclusion in LMDA Review by an authorized administrator of Sound Ideas. For more information, please contact [email protected]. Authors Sydney Cheek-O'Donnell, Vicki Stroich, Martine Kei Greene-Rodgers, Curtis Russell, Will Daddario, Wade Hollingshaus, and Becky Becker This book is available at Sound Ideas: https://soundideas.pugetsound.edu/lmdareview/46 The Journal of Dramaturgy Published by Literary Managers and Review Dramaturgs of the Americas ISSN 2157-1007 Volume 23, Issue 1 Summer 2013 TRAVELOGUE 3 “Dramaturgy and Risk in Pakistan” by Vicki Stroich BOOK REVIEW PHOTO: 7 The Process of Dramaturgy by Scott R. Irelan, Anne Fletcher, and Julie Felise Dubiner CHRISTOPHER MORRIS Reviewed by Martine Kei Green-Rogers and Curtis Russell PEER-REVIEWED CONTENT 10 “Emancipating Dramaturgy: From Pedagogy to Psychagogy” by Will Daddario and Wade Hollingshaus 20 “Directing Like a Dramaturg: The Art of Being a Whale” by Becky Becker PHOTO: JOHN W.
    [Show full text]
  • Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms
    Vanderbilt Journal of Entertainment & Technology Law Volume 16 Issue 2 Issue 2 - Winter 2014 Article 3 2014 Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan Follow this and additional works at: https://scholarship.law.vanderbilt.edu/jetlaw Part of the Intellectual Property Law Commons Recommended Citation Carol M. Kaplan, Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms, 16 Vanderbilt Journal of Entertainment and Technology Law 297 (2020) Available at: https://scholarship.law.vanderbilt.edu/jetlaw/vol16/iss2/3 This Article is brought to you for free and open access by Scholarship@Vanderbilt Law. It has been accepted for inclusion in Vanderbilt Journal of Entertainment & Technology Law by an authorized editor of Scholarship@Vanderbilt Law. For more information, please contact [email protected]. Once More unto the Breach, Dear Friends: Broadway Dramatists, Hollywood Producers, and the Challenge of Conflicting Copyright Norms Carol M. Kaplan* ABSTRACT In recent decades, studios that own film and television properties have developed business models that exploit the copyrights in those materials in every known market and in all currently conceivable forms of entertainment and merchandising. For the most part, uniform laws and parallel industry cultures permit smooth integration across formats. But theater is different. The work-made-for-hire provisions that allow corporations to function as the authors of the works they contract to create do not easily align with the culture and standard contract provisions of live theater. Conflicts arise when material that begins as a Hollywood property tries to make Carol M.
    [Show full text]
  • Chemical Energy And
    Unit 6: Energy! From Food to Forces Chemical Energy and LESSON 1 LESSON FOOD CHAIN Unit 6: Energy! From Food to Forces Chemical Energy and LESSON 1 LESSON FOOD CHAIN Food chains and webs show the flow of chemical energy through an ecosystem. From the sun to tertiary consumers. students learn about the transfer of chemical energy and how producers and consumers depend on each other. They also learn scientists classifiy living things based on what they eat. Table of Contents 4 Launch! Sun. Chemical energy passing through the food chain starts with the sun. 6 Chemical Collisions A1: Chemical Energy. Hydrogen and helium are the chemical elements in the sun. 12 Productive Primary Producers A2: Producers. Producers use energy from the sun during photosynthesis. 18 Primary Producer Eaters A3: Primary Consumers. Primary consumers get energy by eating producers. 26 Consuming Critters A4: Secondary Consumers. Secondary consumers get energy by eating primary consumers. 34 Web of Life A5: Food Chains and Webs. Food chains and webs show the transfer of chemical energy in an ecosystem. 50 Tropical Trophic Tiers A6: Energy Pyramid. Scientists show energy transfers from the sun to producers to consumers with trophic levels. Launch! (Sun) SUN! where does chemical energy begin in a food chain? Chemical energy passing through the food chain starts with the sun. Unit 6: Chemical Energy and Food Chain Ready? Materials Nothing to prepare. Sticky notes Pencil Set? • Unit 4-Lesson 1-All Activities: Sun • Unit 6-Lesson 1-Activity 1: Chemical Collisions (Chemical Energy) • Unit 6-Lesson 1-Activity 2: Productive Primary Producers (Producers) • Unit 6-Lesson 1-Activity 3: Primary Producer Eaters (Primary Consumers) • Unit 6-Lesson 1-Activity 4: Consuming Critters (Secondary Consumers) • Unit 6-Lesson 1-Activity 5: Web of Life (Food Chains and Webs) • Unit 6-Lesson 1-Activity 6: Tropical Trophic Tiers (Energy Pyramid) Hawaii Standards Go! SC.K.3.1 Develop Know-Wonder-Learn chart with students.
    [Show full text]
  • SMASH™ Reference Manual ______
    Using this manual ___________________________________________________________________________________ Rev #1 - June 1997 - Dolphin Integration 1 SMASH™ Reference manual ___________________________________________________________________________________ Using this manual This documentation is divided in three parts, the User manual, the Reference manual, and Appendixes. The User manual provides a complete description of the menus. The Reference manual provides details about formats, directives, syntax etc. Appendixes provide details about miscellaneous topics. To get a quick overview of the SMASH™ system, read the Chapter 1 - Files, in the Reference manual, which describes the different files that SMASH manipulates, and flip through the User Manual. Many topics can not be described without refering to other topics, so we do not recommend a linear reading of the whole manual. You will probably use the index to go to what you are interested in, and then jump to related subjects. User manual Description of menus This section details the available menus and commands. You will have to refer to this section for “operational” details. Reference manual Chapter 1 - Files An overview of the input and output files in SMASH™. How the netlists are organized, where the simulation results are etc... Chapter 2 - Preferences and conventions An overview of the preference file (smash.ini), and a summary of the general syntax rules and conventions Chapter 3 - Analog primitives The descriptions of the syntax for the analog elements (resistors, transistors etc.) Chapter 4 - Digital primitives The descriptions of the syntax for the digital primitives, together with information about digital simulation. Chapter 5 - Hierarchical descriptions How to build hierarchical netlists (use of subcircuits and modules). Chapter 6 - Analog stimuli Provides a description of the independent voltage and current sources.
    [Show full text]