Everything we do in this course points at one or more of these expectations, from ADA1O — Drama, Grade 9, Open. Lesson pages link here so you can always see why we are doing something.
Where these come from
The wording below is the Ontario curriculum’s own. See About These Expectations.
The three strands work together: you create and present drama (A), step back to reflect on and analyse it (B), and build up the vocabulary, history, and habits that make both possible (C).
graph TD A["A. Creating and Presenting"] --> B["B. Reflecting, Responding, and Analysing"] B --> A C["C. Foundations"] --> A C --> B
Overall and specific expectations
Strand A. Creating and Presenting
By the end of this course, students will:
A1. The Creative Process
use the creative process and a variety of sources and forms, both individually and collaboratively, to design and develop drama works;
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A1.1
use a variety of print and non-print sources (e.g., a still photograph and/or instrumental music; current events headlines from print media; situations and characters from nature) to generate and focus ideas for drama activities and presentations
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A1.2
select and use appropriate forms to suit specific purposes in drama works (e.g., use tableaux to tell a story to a young audience; use improvisational games to dramatize a proverb; develop a ritual that could be part of an Aboriginal celebration)
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A1.3
use role play to explore, develop, and represent themes, ideas, characters, feelings, and beliefs in producing drama works (e.g., use improvisation exercises to explore how they might think, feel, and act in specific real-life situations; write in role as a character who is reflecting on the people, events, and relationships affected by a personal, social, or environmental issue)
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A2. Elements and Conventions
use the elements and conventions of drama effectively in creating individual and ensemble drama works, including works based on a variety of sources;
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A2.1
use the elements of drama to suit an identified purpose and form in drama presentations (e.g., use a historical conflict as the focus for a dramatic monologue revealing a real or fictional character’s attitudes, feelings, and reactions; use a futuristic, science-fiction setting for a mask comedy about an environmental or social issue)
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A2.2
use a variety of conventions to develop character and shape the action in ensemble drama presentations (e.g., use corridor of voices or a day in the life to extend their understanding of characters; use flashbacks or flash forwards to introduce new perspectives or create tension)
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A3. Presentation Techniques and Technologies
use a variety of presentation techniques and technological tools to enhance the impact of drama works and communicate for specific audiences and purposes.
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A3.1
identify and use a variety of techniques or methods for establishing a rapport between performer and audience (e.g., techniques such as breaking the fourth wall, direct address, adapting performance style to suit a particular type of audience [children versus adults])
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A3.2
use a variety of expressive voice and movement techniques to support the depiction of character (e.g., use volume, tone, accent, pace, gesture, and facial expression to reveal character and/or intention)
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A3.3
use a variety of technological tools to communicate or enhance specific aspects of drama works (e.g., lighting, sound, props, set, costumes)
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Strand B. Reflecting, Responding, and Analysing
By the end of this course, students will:
B1. The Critical Analysis Process
use the critical analysis process to reflect on and evaluate their own and others’ drama works and activities;
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B1.1
use the critical analysis process before and during drama projects to identify and assess individual roles and responsibilities in producing drama works (e.g., use journal writing, teacher-guided reflection, cooperative problem solving, writing in role, and discussion to identify team members’ skills and knowledge and assess their use in project tasks)
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B1.2
interpret short drama works and identify and explain their personal response to the works (e.g., analyse fairy tales, myths, or legends to clarify the feelings or motives of primary and secondary characters; use journal writing, writing in role, group discussion, and/or teacher-guided reflection to identify and clarify their ideas and opinions about a variety of drama works)
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B1.3
identify aesthetic and technical aspects of drama works and explain how they help achieve specific dramatic purposes (e.g., write a report outlining the technical and aesthetic strengths of a peer’s presentation, using appropriate terminology; describe how basic stagecraft has been applied in a drama; identify and explain or justify their own and others’ aesthetic decisions using journals, checklists, or rubrics)
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B2. Drama and Society
demonstrate an understanding of how societies present and past use or have used drama, and of how creating and viewing drama can benefit individuals, groups, and communities;
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B2.1
identify and explain the various purposes that drama serves or has served in diverse communities and cultures from the present and past (e.g., to provide entertainment; to highlight or interpret religious or ethical beliefs, as in ancient Greece or in Aboriginal cultures; to celebrate or commemorate key traditions or historical events of a culture or country)
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B2.2
explain how dramatic exploration can contribute to personal growth and self-understanding (e.g., explain how attributes such as self-awareness, empathy, confidence, and a willingness to take risks are developed and strengthened through drama activities; discuss the importance of the spoken word and rap to give voice to some cultures)
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B2.3
explain how dramatic exploration helps develop group skills and appreciation of communal values (e.g., record in a journal what they learned about collaboration, negotiation, mediation, and listening techniques during the rehearsal process; explain how drama can help strengthen community among both presenters and audience)
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B2.4
identify ways in which dramatic exploration promotes an appreciation of diverse cultures and traditions (e.g., describe what they learned from experiencing different perspectives on reality through drama works based on Aboriginal and/or international sources)
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B3. Connections Beyond the Classroom
identify knowledge and skills they have acquired through drama activities and ways in which they can apply this learning in personal, social, and career contexts.
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B3.1
identify specific collaborative skills and attitudes that are required in preparing and staging drama works and explain how they can be applied in other fields or activities (e.g., acting/directing: willingness to take risks, negotiating skills, flexibility, self-confidence; stage managing: listening skills, willingness to consult, organizing skills, people-management skills)
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B3.2
identify specific social skills and personal characteristics they have acquired or strengthened through drama work that can help them succeed in other areas of life (e.g., describe their personal development in areas such as risk taking, self-confidence, self-awareness, listening, questioning, negotiating, consensus building)
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B3.3
identify and describe various roles, responsibilities, and competencies of key personnel in theatre work (e.g., director, actor, stage manager, set/costume designer, front-of-house administrator, executive producer)
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Strand C. Foundations
By the end of this course, students will:
C1. Concepts and Terminology
demonstrate an understanding of the nature and function of drama forms, elements, conventions, and techniques, including the correct terminology for the various components;
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C1.1
identify the drama forms, elements, conventions, and techniques used in their own and others’ drama works, and explain how the various components are used or can be used to achieve specific purposes or effects (e.g., explain how character interactions are used to create humour, how flashbacks are used to clarify motive, or how flash-forwards are used to heighten tension or create dramatic irony)
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C1.2
use correct terminology to refer to the forms, elements, conventions, and techniques of drama (e.g., tableau, blocking, setting, improvisation, flash-forward, guided tour, upstage)
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C1.3
demonstrate an understanding of production roles, practices, and terminology when planning and presenting drama works (e.g., technical rehearsal, dress rehearsal, props list, entrance cue, speech cue)
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C2. Contexts and Influences
demonstrate an understanding of the origins and development of drama and theatre arts and their influence on past and present societies;
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C2.1
describe the origins and development of various drama forms, elements, conventions, and techniques (e.g., report on the role of the chorus in Greek theatre or the clown in slapstick comedy; report on how the changing uses of the thrust stage and the proscenium stage reflect developments in drama)
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C2.2
describe ways in which contemporary dramas show the influence of social trends (e.g., identify topical themes and/or familiar stereotypes in popular films and television dramas; compare the roles played by women characters today and in the past)
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C3. Responsible Practices
demonstrate an understanding of safe, ethical, and responsible personal and interpersonal practices in drama activities.
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C3.1
identify and follow safe and ethical practices in drama activities (e.g., find ways to ensure the emotional safety [trust] and physical safety of themselves and others, both onstage and offstage; identify and follow guidelines for avoiding plagiarism and for respecting/protecting their own and others’ intellectual property rights)
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C3.2
identify and apply the skills and attitudes needed to perform various tasks and responsibilities in producing drama works (e.g., demonstrate respect for others and use focused listening, negotiating, consensus-building, and collaborative skills in group work)
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C3.3
demonstrate an understanding of theatre and audience etiquette, in both classroom and formal performance contexts (e.g., listen attentively during school performances and assemblies)
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