Tiddilak Drama lesson - comparing the wet and dry season.

1. Lesson Plan Format
Class: Year 4 Date: 16th April 2010 Time: Start: 9.15am
Stage : 2
Finish: 10.00am
Lesson Topic: Mime, Readers Theater. Making and Performing.
Key Learning Area: Creative Arts, DRAMA!
Integrated Key Learning Areas. Although mime, is without speech (non verbal vocalization), it will ironically be used as an
avenue to boost the (S)’s evolving characters in the (S)’s final Readers Theater performance by
HSIE enhancing their vocal expression. The dramatic form mime will consequently, enhance the (S)’s
CUS 2.3, Cultural Identities.ENS2.6, Environments. movement and gestures, along with their comprehension of their assigned characters and the
SSS2.7, Relationships with places, Resource Systems. story itself. The ultimate goal is to develop a more dynamic vocal expression and appropriate
facial & gesture articulation; irrevocably creating a more cultured and theatrical performance of
SCIENCE the play of Tiddilak the Enormous Frog.
LT S2.3, Identifies and describes the structure and function
of living things and ways in which living things interact with The theatrical forms are interrelated, as improvisation and movement are incorporated in a prior
other living things and their Environment. lesson. For this particular lesson Mime is the focus, with a second read through of a Readers
Theater script at the end, time permitting! Mime will precede and be the main focus, but will
ENGLISH (Reading, Talking & Listening) assist the children’s characterizations in the Theatres Readers performance of Tiddilak the
RS2.5 identifies elements such as main characters, setting Enormous Frog (the Aboriginal Dreamtime story). Emphasis on expression, comprehension and
and events in a variety of literary texts, shows empathy with characterization are imperative for a successful performance.
characters in stories.
RS 2.7, RS 2.8, TS2.2, adjusts speech to suit familiar The exercise is reminiscent of a refining process, as in dance, where it will be enriching (S)
situations. TS2.3, usually selects a suitable spoken text for knowledge of the animals and their environment and consequently a superior, and more
the purpose and audience. enhanced finale. Although we will not be using speech initially, after the mime activity, the (S)
perceptions and new empathies of the characters will be evident in their vocal expression and
PDHPE (Communicating) thus the rehearsal of the script will be transformed.
COS2.1 Uses a variety of ways to communicate with and
within groups. This very practical training technique of Mime, aids in a more sophisticated performance of the
DMS2.2, Decision making script, the (S) understand the characters, their role and situation to name one of the many
INS2.3, Interacting makes positive contributions in group elements of drama. Seeing as 90% of children learn through what they do (Russell-Bowie, D,
activities. 2002). This will assist in their learning and fast track their progression to becoming a more
MOS2.4, Moving, Displays a focus on quality of movement improved, sophisticated and confident performer!
in applying movement skills to a variety of familiar and new
situations. As it is recommended in the syllabus all teachers from Early Stage 1 to Stage 3 should
experience the work of Aboriginal and Torres Strait Islander peoples (K-6 Syllabus, Creative
DANCE and MUSIC Arts, 2007). This is why I chose this one, as it is also thematic, incorporating a myriad of cross
DAS2.2, Explores, selects and combines movement using curriculum Key learning areas. Very useful indeed!
the elements of dance to communicate
ideas, feelings or moods. MUES1.1
Carolyn Cavell – Drama Assessment Page 1

2. Recent Prior Experience
The previous lesson (T) would have read the colourful storybook of Tiddilak the Enormous frog. The dramatic technique focused in this prior class would have
been on interaction through improvisation, thereby continuing the progression of (S) characterizations in this script (which will have been read at least once
through the prior lesson).
The prior lesson the (T) will have shown the attached informative PowerPoint presentation of Aboriginal dreamtime and the various animals, so children have
an understanding of the cultural values of the Aboriginals, their land, customs and the importance of the animals. The animal information slides providing a
prompt to inform (S)’s what sort of habitat their native animals occupy, what and how they eat, how they move and travel, and what prominent features these
creatures may possess, which will assist (S) in the visualization when creating their mime work for this lesson. This presentation works two fold for the
aforementioned knowledge, as it will be integrating HSIE, CUS 2.3, Cultural Identities, ENS2.6, Environments and SSS2.7, Relationships with places and
Resource Systems and Science LT S2.3. This stimulus will assist in the (S)’s mimes; deepening and sustaining their character development. This
presentation would be up in the room for this lesson also to remind the children of their roles and characters. It can be referred to and is still a stimulus for this
lesson.
Syllabus Outcome(s): Indicators: Assessment:
DRAS 2.1 (Making) DRAS2.1 (Making)
] (T)’s assessment will be through
Takes on and sustains roles in a variety Takes on and sustains roles in a variety of drama forms to express observation of (S) miming and
of drama forms to express meaning in a meaning in a wide range of imagined situations. performing Readers Theatre.
wide range of imagined situations.
 Sustains and builds belief in their roles. (T) Will analyze space: including
 Takes on both individual and group roles. personal space, all purpose space, are
 Makes decisions about role interactions, symbolic representations their characters resembling their
DRAS 2.3 (Performing) and the dramatic context at various stages of preparing for the shape, how are the using the space or
drama and during breaks in the action of the drama. manipulating it? Do the (S)’s divulge
Sequences the action of the drama to  Interprets a wide range of imagined situations through the use of a beginning, middle and an end to their
create meaning for an audience. various drama forms, e.g.: improvisation, movement, mime, movements? What is their movement
storytelling, puppetry, mask and play building. like, reflective of that animal? Is there a
story or an emotion they are
DRAS 2.3 (Performing) conveying? How well are they able to
sustain (T) belief in role and how does
Sequences the action of the drama to create meaning for an the dramatic tension build?
audience.
(T) will analyze (S)’s process of
 Demonstrates confidence in gesture, movement and voice skills. working together and individually. Are
 Demonstrates how characters interact with each other. (S)’s extending or blocking? Are (S)’s
 Select props, costumes, artefacts, sound effects and movement still working collaboratively, or
sequences to help define role, place and situation to add to the individually? Are they telling a story?
meaning of the drama. How convincing are they? How
 Make decisions with others in various groupings about sequencing effectively do they sustain roles while
Carolyn Cavell – Drama Assessment Page 2

3. and dramatic structure to convey meaning interacting with others?
Safety Issues to consider: Resources required for this lesson:
o Organize teaching space accordingly and 1. Script for Readers Theater, Tiddilak the Enormous Frog: sourced from Dominies bookshop
clear room of chairs & any obvious danger. Brookvale, as referenced below.
o Remind them of Safe body techniques (no 2. Colour code and highlight parts for the (S), preparation before start of class, number of scripts
socks as they are slippery). according to class numbers.
o Explain their peripheral vision; keep it o Swasbrook, Elizabeth. (2000) Aboriginal Legend Plays: Introducing Aboriginal Culture
switched on throughout the warm up. through Drama. Western Australia: Prim-Ed Publishing.
o Recap on the safety of their back and o Head dress of animals from previous lesson, also sourced from (Swasbrook, 2000) and
neck, keeping in mind children with attached to this assignment.
disabilities.
o Scripts, the (S) scripts will be photocopied according to number of (S) in class.
o Mention that this is a nurturing and safe
environment we all must feel comfortable o (T)’s script will be colour coded to match (S), so (T) identifies who is next to read.
in for our creative abilities to flow.
o PowerPoint slides of Aboriginal dreamtime and pictures of animals and their habitat. A
o Spatial awareness noted by (T) and warm stimulus to get their creative juices flowing (also attached)
ups begin in the lesson below.
o VIDEO - http://www.youtube.com/watch?v=VpZ29kUCQWM. Retrieved 13/04/2011. 7
Feb 2009 ... A story about thirsty Tiddalik!
o Music – rhythm sticks for the children in the performance of the Old people.
o Safe, open arena style classroom set up for a protective and secure environment to (S)
to partake in. There must be sufficient space for pupil interaction.
Carolyn Cavell – Drama Assessment Page 3

4. LESSON SEQUENCE
INTRODUCTION
Timing
(10) (T) Reiterating safety techniques expressed under this o http://improvencyclopedia.org/games/index.ht
heading in this lesson to (S). (S)’s made aware of their ml (ACE) for Icebreaker.
classmates and the space they occupy.
. o http://www.pearsonpublishing.co.uk/educatio
(T) Begins physical warm up session through a fun and n/samples/S_491580.pdf (warm up)
silly game called Killer.
o http://www.aboriginalspirituality.net/aboriginal
Icebreaker - Killer _culture.html.
This could be used as an Icebreaker and a mental warm Powerpoint slide resources.
up as concentration is required. The game structure is
based on discovery and deduction, focusing on body o Source: Our Land, Our People, NSW
language to pick the killer. A lovely introduction to our Aboriginal Land Council, 1991. Board of
mime exercise. studies. p 16
Killer – the pupils sit in a circle, A detective sits in the o http://www.aboriginalartonline.com/culture/rai
middle. The teacher chooses the killer by touching one of nbow.php, Land and cultures retrieved
the pupils on the back while everyone else keeps their 13/04/2011. Rainbow serpent picture.
eyes closed. It is the killers’ job to wink at people in order
to kill them without being noticed by the detective. When o http://www.pbase.com/sheila/aboriginality_of
killed, people fold their arm. The focus here for discussion _sydney_australia (aboriginal boy).
can be the way in which the group becomes skilled at
confusing the detective – seeking to get themselves killed, o http://animals.nationalgeographic.com/fish/el
waiting for a while before announcing that they have been ectric-eel/.
killed. It’s just as much body language as it is winking in
trying to spot them. http://www.dreamtime.auz.net/default.asp?P
ageID=46 (aboriginal painting of Tiddilak the
If children start misbehaving, a management strategy frog). Dreamtime Kullilla Art.
could be to pretend we are part of a real drama company
or on set. The (T) could yell “Cut”, like in the movies. And o http--www.lindakreft.com-pdf-dreamtime.pdf.
“Action” to start the game or the following exercise again. Retrieved from Peace, Pride, Activists, Social
Peace (2011).
Carolyn Cavell – Drama Assessment Page 4

5. (T) Begins vocal warm up below.
(S)’s stand in two parallel lines, each facing a partner
about two feet apart. At a signal from you they start a
conversation. At the next signal they each take a step
backwards and continue to talk to each other. This
continues until they are at either side of the room shouting
at each other. It is an effective, if noisy, way to make the
children understand the high vocal level necessary for
speaking on stage, as well as being a fun warm-up
exercise.
DEVELOPMENT
(15) (T) Recalls exquisite improvisations of preceding lesson
and mentions’ only gestures and movements (no sounds)
are our vehicles for dramatic tension for this exercise.
(T) Negotiates that this MIME will entail the (S) taking on
roles of the environment eg; the rivers, the river bed, the
trees, the sun, aboriginal elders, some native animals.
(S) sit in a circle and put their hand in (T)’s container and
a strip of paper will have the words tornado, tree or a part
of the environment.
(T) advises (S) to lie down on the floor to begin in a calm,
starting position and when the rhythm sticks are tapped by
(T), they can commence their miming.
 First setting - the dry season. (T) Uses appropriate
language register for this level to assist in
development of their mimes, such as; hot, limp,
lifeless to encourage miming refinement.
 Second setting - the wet season. See who, how &
when the wind and the water changes. Crazier
movement, wild weather, faster and more rhythmic
movements and expressions. See the transition
between the dry to wet season with the animals and
the environment.
Carolyn Cavell – Drama Assessment Page 5

6. (10) Through this miming activity, children are using their
imaginations and creativity, their body shapes, gestures
and expressions representing the environment & native
animals in this milieu. They are contrasting the different
seasons whilst working collaboratively. They have created
dramatic tension and contrast through the symbolic
menacing winds & heavy rainfall of the wet season, the
scorching, sweltering heat of the dry season. The tempo
and pace of the winds and the sand blowing furiously amid
wild animals; a whole gamut of drama elements inclusive
in this exercise.
(T) Negotiates the (S) with the rhythm sticks. Perhaps
children with disabilities or limitations or those who are
interested.
(T) hands out highlighted scripts to (S).
(T) hands out animal head dress (only prop for the
performance)
(T) has chosen this story as the language skills would suit
most children and the interest of the story.
The script is attached. (T) points out the structure of the
narrative, beginning (Tiddilak drinking all the rivers dry),
points out the struggle in the story (as all the creatures
trying to make the Frog laugh, in order for their survival)
and the resolution, the eel succeeds in restoring the water
supply.
(T) points out that the rhythm stick music players can beat
faster as well as stamp their feet in response to danger,
fear of death, doom.
(S) read through with a more astute understanding of
nature, their characterizations and are able to read with
improved vocal expression and facial and gestures taboot!
Carolyn Cavell – Drama Assessment Page 6

7. CLOSURE
Cool down – The time when children shift back to the real
(10) world. (T) Uses relaxation and breathing exercises to calm
children.
(T) to finish with the video Tiddalik The enormous frog.
Have figured out I probably won’t have time. But it’s better
to be conscientious than under prepared!
More polished characterizations in the Readers Theatre
script is the consequence of the miming exercise! Goal
achieved and evident through second reading of script!
Carolyn Cavell – Drama Assessment Page 7

8. References
Fleming, Michael. (1996). Starting Drama Teaching. London: David Fulton Publishers. P 74
Gorman, Alfred H. (1971). Teachers and Learners; the interactive process of education. Boston: Allyn & Bacon. p 14
Heinig, Ruth Beall. (1993) Creative Drama for the classroom teacher: Drama in education. (4th ed). London: A Pearson Education Publishing Company.
p9
NSW Board of Studies (2001). Creative Arts K-6 Syllabus. Board of Studies: Sydney. p 5, 19
NSW Board of Studies (2001). Creative Arts K-6 Units of Work. Board of Studies: Sydney. p 38
Russell-Bowie, D. (2006). MMADD about the arts! An introduction to Primary Arts Education. Sydney: Pearson Education Australia.
Creative Arts Classroom resources NSW Public Schools: http://www.schools.nsw.edu.au/learning/k_6/arts/clresources.php
Swasbrook, Elizabeth: (2000). Aboriginal Legend Plays: Introducing Aboriginal Culture through Drama. Western Australia: Prim-Ed Publishing. P 6-10
Garrett, Tracy D, OÇonnor, Dava (2010), Readers Theater: “Hold on, Let’s Read it Again.”. Teaching Exceptional Children: Article, Lander University
43(1), p 6-13. (Check this reference).
http://improvencyclopedia.org/games/index.html. Retrieved 16/04/2011. (ACE)
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