Dear Charlotte STUDY GUIDE
University of Houston School of Theatre & Dance The UH School of Theatre & Dance produces pre-professional plays, dance concerts, studio productions, and Theatre for Young Audiences. Performances are delivered in in the Wortham and Quintero Theatres. The UH School of Theatre & Dance offers bachelor’s degrees in playwriting and dramaturgy, acting, design and technology, stage management and theatre education. Its graduate programs consist of a Master of Arts in theatre studies, a summer Master of Arts in theatre education, and Master of Fine Arts degrees in acting, and design and technology. Noted alums include actors Jim Parsons, Dennis Quaid, Brett Cullen and Robert Wuhl. Faculty includes award-winning playwright, television writer, and novelist, Theresa Rebeck, Tony Award-winning producer Stuart Ostrow and Tony-nominated designer Kevin Rigdon. Past-distinguished faculty are Edward Albee, Lanford Wilson, Sir Peter Hall, Jose Quintero, Patsy Swayze and Cecil Pickett. In 2012 and 2013, the school was named “Best College Theater” in the Houston Press Theater Awards. T H E A T R E . U H . E D U
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Audience Etiquette What is Audience Etiquette?
We are so pleased that you have come to see Dear Charlotte! To ensure every audience member has the best possible experience, please review the following guidelines for watching live theatre... The theatre is a live experience. The actors onstage and the audience share a common bond. The actors and audience have a responsibility to each other. Each night’s performance is a little different, this is for a number of reasons, but the main reason is that no two audiences are the same. Each audience has a different energy and reacts differently to a play's scenes. If the actors find that their audience is engaged and listening to the performance quality is higher. If they find that the audience is disinterested and not listening it will bring the energy down in the theatre. Be a supportive audience member, pay attention and engage in the story.
Please Be Quiet
Many artists such as the director, technicians, and actors have put a lot of hard work and time into the performance you are about to see. Please, do not talk to your friends during the show. It might disrupt the performance . No Cell Phones
Arrive On Time
Please turn off all cell phones and other devices that can make noise, like watches. Remember, no one likes someone using their phone while talking. Please be respectful!
Be sure to get to the theatre at least 15 minutes before the start of the show. It’s always a good idea to arrive early to allow time to use the restroom and find your seat.
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Meet The Director
What new challenges has this play presented you? And what have you done to overcome these challenges?
CO: An interesting challenge is having much of the cast playing multiple characters throughout the show, and sometimes in very short snapshots. In terms of design we looked into subtle accents to a scene or character, or sometimes both, that could help us moving on from one scene to another. The show, also, has a lot of timing and rhythmic elements that need to be very precise. This is a show; however, where I didn't know any of the actors or any of the designers and that isn't normally the case. I'm usually pretty comfortable with my casting pool and who I'm going to be working with so that was something new. What's your inspiration for the direction of the story?
CO: We are focusing mainly on plot. In most plays the audience is interested in the story; what's going to happen next? But in the first two minutes the actors stand up onstage and give away the whole plot for the show, thus eliminating the suspense. So, the story has to function differently in that we have to interest the audience in how it happened and how it felt. How did it feel for a woman in the 19th century trying to break into literature? How did it feel as a 9 year old to discover the magic of words for the first time? We (the design team) decided to pick out seminal moments of the show and see if we could find imagery that was evocative of what this felt like. Furthermore, we want the audience to be able to take visual and audio snapshots that are hopefully stunning. In essence, the concept of the show is to make the audience feel the show rather than follow it.
Christopher Owens Director
When starting a show, what steps do you take to prepare? And how does this translate to the rehearsal room?
CO: The first step I take in preparing for a show, even before speaking to designers, is that I storyboard the show; meaning, I break the show up into sections where each portion of the show has got some key element of the story that needs to be accomplished. I've broken down this show into 12 scenes per act, some of which is thinking of the best ways to segment rehearsal time for myself and the actors. However; more so than that, within each of those scenes are 5 other units for me that have to do with what I think is the essence of this story. Often times I give these scene's titles such as "Branwell's Hell." After casting the show, I have to go back to the drawing board; in that I have to look at whether I'm utilizing the characters in the best way. Walking into the rehearsal room I begin to look at what I'm building to and what is the climax based off my preparation. The climax is certainly the moment between Heger and Charlotte and so I have to remember that I am building to that moment and can't peak before that. This is my 200th show as a director and so I don't run into too many moments that completely catch me off guard; I've made a lot of mistakes and learned from them and so I can come into something pretty well prepared.
What do you hope audiences will take away from Dear Charlotte?
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CO: Breathless moments. Moments where you just go, "Wow! That's an image I'm going to remember for a long time." The sense that people can be on a boat one second, and then on a street the next and then on a cathedral after that; so that imagination is spurred to places that the audience hadn't thought of before. I think that stories, on the whole, have tremendous value. The most powerful theatre is one where we can evoke and imagine rather than one where we simply create a museum. That's what I like about Dear Charlotte, it gets us to do those things.
Meet the Dramaturg
Sam Marchiony M.A in Theatre studies
What is "dramaturgy" to you? I see dramaturgy as the process of finding everything that the actors wouldn't think about and reminding them of it. If I were going to use a metaphor,I would say that the job of a dramaturg is to fill in the potholes on the road to the play. There's never any doubt that the car is going to get where it needs to be, but it makes for a much smoother ride.
Dramaturgy brings a lot more to the world of the play. Why is that important to you? I think that dramaturgy is what adds the depth to the world of the play because even if the audience doesn't realize it, the actors understanding the world they inhabit is vital to making it believable. It is not enough to know what choices are being made, you also need to know why those choices are being made, and I don't think that can be done effectively unless the actor understands the world of the play. What was your dramaturgy process for Dear Charlotte? We each had a selection of historical figures, social norms and one of the Brontë sisters' works to research, and it was this third section that really made up the bulk of our process. Dear Charlotte is really a play about how the Brontës' lives influenced their writings, so everything we were researching fed back into one of those two things in some way. What is your favorite thing you have learned through this process? The silly part of me was overly amused by what I learned about Lord Byron being the ultimate 19th-century playboy who did ALL the scandalous things, like being in love with his half-sister. But, on a more serious note, I really enjoyed reading about the Juvenilia and the Tales of Angria that made up the Brontës' earlier work. As a writer myself, it was definitely a humanizing experience to know that such lauded authors had the same kind of fantasy phase I myself went through in my early period.
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Exploring Playwriting
Joy Gregory Dear Charlotte Playwright
Joy Gregory is a producer and writer known for her work on CBS's Madam Secretary and Jericho, as well as Freeform's Switched at Birth. She is a founding Ensemble Member of the Lookingglass Theatre Company in Chicago, performing as Alice in the company's first production of Through the Looking-Glass. The Company itself was awarded the 2011 Tony Award for Outstanding Regional Theatre, and her works have been nominated for various awards, including the Joseph Jefferson Award for New Adaptation, the Drama Critic's Circle Award, and the Humanitas Prize. Gregory enjoys projects of various mediums, including theatre, television, and film, and encourages ensemble collaboration and new ideas through her work.
In an interview with Dr. Robert Shimko, director of the UH School of Theatre & Dance and program head of the school's Playwriting/Dramaturgy track, the development team made an effort to ask, "Where would one start if they were interested in playwriting?" His answer was simple: write. Write short plays that take ten minutes to perform, long plays with three acts, and focus on the beginning, middle, end of all your stories. "Many young artists won't write because they don't know where to start," says Dr. Shimko, "but there's never a true way to know where your stories are headed without putting them on paper. Write, write, write!" With this in mind, for those interested in studying playwriting, having your works developed and workshopped with real actors, directors, and other artists truly brings your theatrical tellings to life. Studying playwriting in a program such as the UH School of Theatre & Dance provides emerging playwrights with mentorship, internship opportunities, and a realm in which to discover where they want to work after graduation.
"In a world where so many fields are shrinking," says Dr. Shimko, "playwriting is one that is flourishing with new artists every day. Joy Gregory is a prime example: her theatrical writing has aided her in capturing the human spirit, something audiences want and need to see."
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Set Design Renderings Designer: Afsaneh Aayani A set designer’s job is to create the overarching look of any given set on television, in film or in the theatre. This means that the role is a slightly unique combination of creativity and practicality, as you have to come up with an idea, design it and then do your best to make it a reality with the team of people around you.
To be a set designer, you’ll also need good delegation skills and to be a good orator, as you’ll need to convey exactly your needs to a variety of people including make-up artists, lighting and sound teams, carpenters and electricians and props technicians.
Set designers will often build scale models of their set design to show the director and the actors what the set will look like in 3-D instead of just on the page.
There will be multiple models for the multiple scenes in a play, to show the whole range of the set, as well as how the lighting in each scene changes.
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Meet the Stage Manager Q: Can you say a few words about yourself and your role in the show?
A: My name is Madison Hottman and I am a junior/senior in the stage management program. Q: What is a stage manager and what does the job entail?
A: A stage manager is what we call “a gladiator of the collaboration process”. The job entails pre-production which starts a week before rehearsals start. During pre-production we create all the paperwork that would benefit us during the rehearsal process. We also tape out our rehearsal space during this week. We move into the rehearsal process which is my absolute favorite. That comes with running the room, being the right hand to the director and the voice for the production team. Also, being an advocate for the actors. Then, into tech and performances.
Q: What do you think has been your biggest challenge throughout the rehearsal process?
A: The biggest challenge throughout the rehearsal process was adapting to the pacing. We only have three weeks of rehearsal to work a two hour show that involves 14 actors. The director, Christopher Owens, came in with everything already mapped out. The first night we blocked the first two scenes…that does not normally happen. He also does three rounds of rehearsal: blocking, working, and detailing. Everything is quick paced. The first night we understood how the process was going to run from there on and we adapted. It has been such a blast working at a quick pace! It makes the team be on their toes!
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Madison Hottman BFA Stage Management
Meet the Stage Manager Q: What has been your favorite part?
A: I absolutely enjoy the rehearsal process. It has pushed me to use the stage management team in a different way. Our normal rehearsal style would not work with this fast-paced process. It has challenged me to better my communication skills so, that we can be efficient and effective in the room. Q: Finally, why did you choose to stage manage and what do you like about it?
A: I have only been in theatre for two years. I started out as an actor but then, I tried stage management at my community college. I chose to stage management because I love the organization behind it. It felt like I was made for it. I love having the opportunity to watch creativity grow and excel. I also love calling a show. The adrenaline you get while calling a show is something I cannot describe.
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The BrontĂŤ Family Tree
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The Production Tree Chairperson & Board of Trustees
Attorney
Accountant Artistic Director
Stage Director
Technical Director
Business Manager
Marketing Manager
Designers
Production Technicians
Box Office Treasurers
Associates
Stage Hands
House Manager
Stage Managers
Performers
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Theatre Terms Auditions: Readings before a director to determine casting of a play. Call Backs: An additional audition for the final actors being considered. Similar to semifinals in sports Places: The direction for all actors, musicians, and technicians to go to their proper position and be ready for the beginning of a play or scene. Strike: Taking down, changing out and putting away costumes, props and sets after a production. Run Through: An uninterrupted rehearsal of a scene, act, or the entire play Heads!: A term of warning used to call attention to overhead danger. Props: Small hand held items used by actors to create the period, character or setting. Costumes: The clothing worn by the actors that helps determine character, time, theme and mood. Script: A complete scene or play in a format to be produced by actors and directors Climax: The major event in a play, the turning point of the story. Setting: Where the play occurs in terms of time and place Act: An organizational division in scripts. Scene: An organizational division in scripts. Often several scenes make up an ACT
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Reading Timeline 1844 The Count of Monte Cristo by Alexandre Dumas
1847 Jane Eyre by Charlotte Brontë
1848 The Tenant of Wildfell Hall by Anne Brontë
1846 Poems by Currer, Ellis and Acton Bell
1847 Agnes Grey by Anne Brontë 1847 Wuthering Heights by Emily Brontë
1849 Shirley by Charlotte Brontë 1850 David Copperfield by Charles Dickens 1853 Villette by Charlotte Brontë
1851 Moby Dick by Hermen Melvin
1857 The Professor by Charlotte Brontë
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Pre-Show Lessons Table of Contents "A BrontĂŤ Family Portrait"
pg. 14
A Sociology & Theatre Lesson
"The Importance of Choosing Words"
pg. 16
An English & Theatre Lesson "Location, Location, Location"
pg. 19
An English & Theatre Lesson
"The Game of (British) Life"
pg. 21
A History & Theatre Lesson "The Difference is X"
pg. 23
A History & Theatre Lesson
"Finding Your Accent"
pg. 25
An English & Theatre Lesson
"Will That Be Cash or Card?"
pg. 28
A Math & Theatre Lesson
"What the Heck Is That? A Look at Expressionism"
pg. 30
An Art & Theatre Lesson "The Mysterious Letters" An English & Theatre Lesson
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pg. 32
A Brontë Family Portrait OBJECTIVE
The student will be able to analyze the various family structures of the Bronte family and their significance. Recommended Grade Level: 9th Grade Time Required: 50 minutes
TEKS
SOCIOLOGY & HEALTH TEKS THEATRE TEKS §113.46. Sociology (One-Half Credit), §117.315. Theatre, Level I Beginning with School Year 2011-2012. (1)(A) understand the value and (13) (A) define the functions and purpose of using listening, rituals of the family and how the observation, concentration, family has changed over time; cooperation, and emotional and (B) define family systems and sensory recall patterns; (1) (J) identify the principles of §115.32. Health 1, Grades 9-10 (OneHalf Credit). (10) (A) describe the roles of parents, grandparents, and other family members in promoting a healthy family; and (B) analyze the dynamics of family roles and responsibilities relating to health behavior.
improvisation;
MATERIALS NEEDED
Family Structure video https://tinyurl.com/brontefamily Bronte Family Handout (Provided) Family Structure Activity sheet (Provided)
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A Brontë Family Portrait
INSTRUCTIONS
Hook: Ask the students “What is a family?” and “What components make up a family?” Show them the Family Structure Video and pass out the activity sheet and the handout (Since the video is really short tell the students not to worry about memorizing each structure because they only need to focus on the 5 listed on the activity sheet.) After the video, have the students popcorn read the handout about the Bronte Family.
Step by Step Activity Details: 1) After reading the handout, divide the class into groups of 4 or 5. 2) As a group, have the students go over the multiple family structure definitions on the activity sheet. 3) Within their groups have them provide an example of an iconic family for each structure. (For example: The Kardashian’s would be an example of a Blended family, The Simpson’s would be a Nuclear family, The Proud Family is Extended etc.) 4) Afterwards each group comes up one at a time at the teacher’s discretion in front of the rest of the class. 5) The teacher privately tells the group one of the family structures to the recreate. 7) Groups then have ten seconds to form a portrait based on the title. (Remind the students to think about the characters involved in the picture and to talk to each other so that there are no repeat characters. They have to tell a story.) 8) Count down and at the end of 10 seconds yell out “Freeze!” 9) The students then freeze in a Tableau (A frozen picture), of what their family portrait would look like. (Make sure each group gets a turn). 10) The rest of the students now have to guess what structure the main group is trying to make. 11) As the game continues start changing up the family portraits by taking away family members or adding two groups together to change the family structures. See how the students adapt to the change.
Assessment: The students will create different family structures by making tableau's and adapted accordingly when asked to add onto them to create even new tableau's/structures.
Closure: After the game have a group discussion with the students on whether they fully understood the activity. Ask them if they were able to understand what makes up each family structure?
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The Importance of Choosing Words OBJECTIVE
The student will be able to identify words using synonyms, specific diction and word choice as well as use diction and inflection to describe words in a variety of ways. Recommended Grade Level: 10th Time Required: 45 minutes
TEKS
ELA TEKS § English II (B1C) - infer word meaning through the identification and analysis… and other word relationships
THEATRE TEKS § Theatre I (C1D); § Theatre II (C2C) - demonstrate effective voice and diction to express thoughts and feelings § Theatre III (C1C); § Theatre IV (C1C) - distinguish the proper techniques such as diction, inflection, and projection in the use of effective voice
MATERIALS NEEDED
30 Word Game Cards (provided) Timer
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The Importance of Choosing Words
INSTRUCTIONS
Hook: 1) Display/write the sentence: “I never said she read my book.” on the board. Ask the students to discuss the different meanings of the sentence when a different word is stressed. (i.e. I never said she…; I never said she….; I never said she…) Introduce and discuss the importance of word choice (diction) and emphasis. a) How does emphasis change the meaning of a sentence? b) There are seven words in one sentence, but depending on which word is stressed, there can be seven different meanings. 2) Using the example from above: if “I” is stressed, that implies that someone else said “she read my book.” Or if “read” is stressed, that implies that she did something other than read the book, but what? Did “she” tear it? Steal it? The possibilities are endless, but the reader or audience member wouldn’t know unless the writer/actor stressed that particular word. 3) Note: If the students do not know the definition of diction, define it as: the choice and use of words and phrases in speech or writing. Step-By-Step Activity Details: 1) Divide the class into two even groups (i.e. 30 students = two groups of 15), if there is an odd number of students, the single student left may be the score keeper, or act as an additional judge during the activity. 2) Divide the provided Word Cards into two stacks equal to the number of students in each group, face-down (15 students/group = 15 cards/group). Instruct the students not to look at the words on the card. 3) The activity is similar to the card game Taboo. One group will start, a student will pick up ONE card, and will show it to the rest of the group and does NOT look at it. The other students in the group will describe the word on the card without saying the word itself or the three “taboo” words beneath it. The student holding the card will attempt to guess the word on the card based on the description from their classmates.
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The Importance of Choosing Words
INSTRUCTIONS (CONTINUED)
4) The student holding the card will attempt to guess the word on the card based on the description from their classmates in 45 seconds (If this proves to be too much time you may change to 30 seconds). If the student does not guess the correct word within that time, they place the card down and the next student begins. 5) Every word guessed within the time limit gains the group one point. If one of the students describing the word uses one of the “taboo” words, the team loses a point. 6) Once the first student has guessed, or failed to guess the word, the first student from the other team picks up a card and repeats the process. Repeat the process, going back and forth between the two groups, until every student in both groups have attempted to guess a word. 7) Tally the points from each group, the group with the most points wins! Closure: 1) Discuss with the students the additional thought that went into describing each word because of the “taboo” words that they were not allowed to say. a) What was the hardest part of the activity? b) How did you discover new ways to describe each word? Assessment: 1) Discuss how multiple words and phrases can be used to describe one word or phrase. Discuss the usefulness of this when acting in a scene to express thoughts and emotions; as well as when writing an essay, or in normal conversation. a) How can different word choices change the tone of a scene/essay/conversation? b) “I am happy.” vs. “I am cheerful.”; “The stage was dark.” vs. “The stage was devoid of light.” etc. c) Both sentences can mean the same thing, but can be expressed in different ways, and introduce different emotions depending on the words used. “...devoid of light” has a much colder tone and feeling than “dark.” Both are synonyms of each other, however, one is stronger than the other when invoking a reaction or emotion.
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Location, Location, Location
OBJECTIVE
The student will be able to explain how setting affects the tone of a story by performing a scene set in different locations. Recommended Grade Level: 9th-12th Time Required: 45 minutes
TEKS ELA TEKS §110.36. English Language Arts and Reading, English I (D) analyze how the setting influences the theme. §110.37. English Language Arts and Reading, English II (D) analyze how historical and cultural settings influence characterization, plot, and theme across texts. §110.38. English Language Arts and Reading, English III & §110.39. English Language Arts and Reading, English IV (D) analyze how the historical, social, and economic context of setting(s) influences the plot, characterization, and theme.
MATERIALS NEEDED
Script (provided) Setting list (provided)
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THEATRE TEKS §117.315. Theatre, Level I & §117.316. Theatre, Level II (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms. §117.317. Theatre, Level III & 117.318. Theatre, Level IV (B) analyze and evaluate dramatic texts as a basis for technical discussions, considering themes, settings, times, literary styles, genres, and characters;
Location, Location, Location
INSTRUCTIONS
Hook: Divide students into groups of 4. Have the students discuss the different settings in their personal day to day life. Ask if they act the same with their parents as they do with their friends, or if their mannerisms change in different social settings. (5 minutes) Step by Step Activity Details: 1) Have the students remain in their discussion groups. Hand each group a copy of the script attached. Each group should only need 1 copy for all their members. 2) Give each group 10 minutes to look over their scene, assign parts, and rehearse the scene. 3) Have each group come and perform their scene once. (10 minutes) 4) After they have performed it once, change only the setting of the scene and have them perform the same scene. Give them 5 minutes to rehearse this change. The characters and the dialogue will remain the same. There are suggestions for different settings attached. Remind them they should be focusing on how the setting changes the way they are delivering their scene. 5) Have the groups perform their scenes again. (10 minutes) Closure: After each group has performed their scene and changed the setting once, have the class discuss how changing the setting affected the scene. How did your mannerisms change? Were you more comfortable in some settings than others? Assessment: The assessment will be the students’ performance when the setting changes.
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The Game of (British) Life OBJECTIVE
Students will understand how to create characters using body language based on life during the Victorian Era. Recommended Grade: 10th Grade Time Required: 45 minutes
TEKS
WORLD HISTORY TEKS §113.42. World History (c) (24) (A) describe the changing roles of women, children, and families during major eras of world history; (c) (30) (C) interpret and create written, oral, and visual presentations of social studies information;
MATERIALS NEEDED
5 Articles (provided)
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THEATRE TEKS §117.315. Theatre, Level I (c) (2) (E) employ physical techniques consistently to express thoughts, feelings, and actions non-verbally; (c) (1) (F) demonstrate a working knowledge of the language of theatre such as stage terminology, elements of theatre, or theatrical conventions; (c) (4) (A) portray theatre as a reflection of life in particular times, places, and cultures;
The Game of (British) Life
INSTRUCTIONS
Hook: Divide the class into 5 groups and hand each group the different articles from the 5 articles provided. Have the students read the articles among their group. Step by Step Activity Details: 1) Explain to students that tableaus are a frozen picture that doesn’t move or talk. To show an example of a tableau to the class, have 3 students make a tableau of a village. 2) Explain to students that they will be creating 3 different tableaus that represent the assigned article. Each group must assign a narrator to explain what each tableau represents. 3) Students will then create and rehearse 3 different tableaus using their assigned article. 4) Once 10 minutes have passed, have each group come up one by one to present their tableaus to the class. 5) Once all groups have gone, students will sit down for a discussion. Closure: Discuss with the students on the following questions: - What were some struggles that the people in the countryside of England faced? - What was expected of the women in the family? - Did families focus more on the girl’s education or the boy’s education and how was the education system? Assessment: One group at a time will present their tableaus to the whole class. - Check for different levels during the tableau. - Check if their body language gives a clear understanding of a character. - Do the character choices make a good representation of their assigned article?
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The Difference is X
OBJECTIVE
The student will be able to create a written monologue using their understanding of women’s education in the 1830’s. Recommended Grade Level: 9th Time Required: 45 Minutes
TEKS
WORLD HISTORY TEKS §113.42. World History Studies (c) Knowledge and skills. (24) Culture. The student understands the roles of women in different historical cultures. The student is expected to: (A) describe the changing roles of women during major eras of world history
THEATRE TEKS §117.315. Theatre, Level I, Adopted 2013. (c) Knowledge and skills. (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (E) write dialogue that reveals character motivation, advances plot, provides exposition, and reveals theme
MATERIALS NEEDED
Passages (provided) Venn Diagram Template (provided)
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The Difference is X INSTRUCTIONS
Provided worksheets are handed out the day before this lesson. Students should be asked to look over them as homework, keeping in mind the similarities and overarching themes. Hook: 1) Explain to the class what a venn diagram is and how to use one: Two overlapping circles with a space in the overlap in order to compare and contrast a set of ideas. 2) Ask the students to discuss the worksheets among their neighbors and create a venn diagram of the educational opportunities for women in the 1830’s versus now. 3) As a class, discuss the student’s findings within the passages and talk about the conclusions they may have drawn from them. Step by Step Activity Details: 1) The students will write a short monologue (30 seconds to a minute) from the perspective of a woman in the 1830’s expressing her thoughts about her education. 2) Students may volunteer to share their monologues in class, although not required. Assessment: The written monologue, which should show an understanding of women’s education during that time, and have some characterization. Closure: End the class with a discussion of the activity and the differences the students noticed between time periods. Ask questions such as: What is different about women’s education in Charlotte Bronte’s time versus ours? What do you think could still be improved today, if anything? If you lived in the 1830’s, what would you do to encourage a change in this problem? How does women’s education impact their careers and income? How has this impact changed between ours and the Bronte’s time?
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Finding Your Accent
OBJECTIVE
Students will be able to develop oral language skills by listening to, and speaking, vocal patterns of a character. Recommended Grade Level: 11th-12th Time Required: 45 Minutes
TEKS
ELA TEKS §110.38(.39). English III-IV (1) (C) give a presentation that exhibits speaking rate such as pauses for effect, volume, enunciation and conventions of language to communicate ideas effectively
MATERIALS NEEDED
Vocal Warm Up Pages (provided) Blindfolds (Optional)
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THEATRE TEKS §117.317. Theatre, Level III, (1) (A) apply theatre preparation and warm-up techniques effectively §117.318. Theatre, Level IV, (2) (A) model safe, appropriate techniques to allow for physical, vocal, and emotional expression
Finding Your Accent INSTRUCTIONS
Hook: Discuss with the students some common elements of a British accent that they noticed during the show. Also touch on elements such as pronunciation and phonetic spelling of words. Write out their observations on a board as well as those listed below if not mentioned. Focus on things such as: · Long “a” i.e. can’t sounding like “cahn’t” · Dropping the “r” after words i.e. far sounding like “fah” · Liquid “u” i.e. think of words such as “cute” and “beautiful” and how the “u” is pronounced in those words, same concept should be used in “assume” (“assyume”) or “new” (“nyew”) Perform vocal warm-ups emphasizing British accent principles. (Handout Included) Step by Step Activity Details: 1) Split class into 4 groups; groups can be of even or odd number. 2) Have students create their own British accent inspired sentence, focusing on using more than one element previously discussed and having to do with a theme in Dear Charlotte. (Sentence should be brief but concise.) Example sentences may include: “Charlotte Brontë found freedom through literature.” “The Brontë family faced immense tragedy.” “Art is important in creating one’s identity.” 3) Go around the room having each group recite their “British Sentence” in their best accent. Choose two groups to start the game and move into an open space. 4) The two chosen groups will close their eyes and be mixed around the room by the two groups not chosen. Try to pair one student with eyes closed to a student without their eyes closed to act as a guide for them. 5) Once students have been mixed throughout the room and have a guide, they should now be instructed to find their group members by pronouncing their “British Sentence” created earlier while keeping their eyes closed.
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Finding Your Accent INSTRUCTIONS CONT.
6) The end result of the game should be the group member finding the entirety of their group by only using their previously created sentence. Group member cannot open their eyes until all group members have been found. 7) Repeat the game again for the other two groups. Assessment: As the students perform their sentences aloud to find their groups, listen for correct pronunciation and utilization of an accent. Offer pointers as necessary. Closure: Gather all the groups together into a circle. 1. What elements of the activity were challenging? Helpful? 2. How do we think accents come about? 3. Why might it be difficult for us to adapt to an accent such as British? 4. Can anyone point out aspects of our speech that may be different from other accents?
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Will That Be Cash or Card? OBJECTIVE
The student will be able to explore budgeting and finances as a character from another time period, with their character’s perspectives in mind. Grade Level: 9th-10th Time Required: 45 minutes
TEKS
CAREER PREP TEKS §127.14. Career Preparation I (4)(B) The student applies academic skills to the workplace. The student is expected to: (B) develop a personal budget based on a career choice; §111.43. Mathematical Models with Applications (c)(2)(A) use rates and linear functions to solve problems involving personal finance and budgeting, including compensations and deductions;
THEATRE TEKS §117.315.Theatre, Level I (4)(A) identify the impact of live theatre, film, television, and electronic media on contemporary society; §117.316 Theatre, Level II (2) (B) explore creativity as it relates to self and ensemble
MATERIALS NEEDED
Cup of Paper to divide students into groups Stopwatch Station Worksheet for each group (provided) Scratch Paper for each student
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Will That Be Cash or Card?
INSTRUCTIONS
Hook: Discuss the idea of the cost of school with your classroom. Ask for input about how they think the amount of money you have can hurt or help someone’s education. Step by Step Activity Details: 1) After opening discussion, divide students into groups of 7. Have students draw paper from a cup to decide who will go to Group A, Group B, and Group C. Stations should all be clearly set up with station worksheet nearby (one worksheet per group or “family”). They will be in these stations for 5 minutes each. 2) Once students are situated at their stations, explain all the rules and guidelines of the stations (on the attached handout). Students are all expected to contribute to their group/family. 3) Give students time to define roles within the family before we start the activity. (Father, Mother, Sister, Dog, etc.) They should also create names for themselves and a last name for the family as a whole. 4) Students will rotate through stations (5 minutes per station) . Students should be keeping in mind the opening discussion throughout their stations. Make sure they are recording their work and answering questions in the Station Worksheets. Closure: For final discussion, have a member from each group share what they spent their money on. Ask the groups different questions regarding the activity (Ex: Do you wish you spent more somewhere else now that everything is over?, etc..) Remember to go back to the beginning questions about how money affects education. Assessment: Final Discussion in which the students: -Are students able to prioritize budget, manage money in their family? -Are students able to understand the cost of education and how it is affected by finances? -Can students correlate how upper class have more access to education, especially higher education?
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What the Heck Is That? A Look at Expressionism
OBJECTIVE
The student will be able to identify expressionism in art and theatre and be able to discuss the emotional impact it has on an individual. Recommended Grade Level: 9th-12th Time Required: 40 minutes
TEKS ART TEKS Art I §117.302 (C)(1)(D) Make judgments about the expressive properties such as content, meaning, message, and metaphor of artwork using art vocabulary accurately. Art I-VI §117.302 or §117.303 or §117.304 or §117.305 (C)(2)(D) create original artwork to communicate thoughts, feelings, ideas, or impressions;
THEATRE TEKS Theatre I & II §117.315 & §117.316 (C)(2)(E) employ physical techniques consistently to express thoughts, feelings, and actions non-verbally
Theatre III & VI §117.317 & §117.318 (C)(1)(B) experiment with stage movement;
MATERIALS NEEDED
Copies of paintings (provided) Discussion Questions for Teacher (provided) Emotion cards (provided) Timer/phone (optional)
30
What the Heck Is That? A Look at Expressionism INSTRUCTIONS
Hook: As students come in, have them sort into even groups (up to six groups) and give each group an art comparison handout (provided). Have students discuss in their group how the different elements that the artist uses in the painting, how they make them feel, and what they think the artist was thinking. Step by Step Activity Details: 1) Using the discussion questions provided, discuss the painting and elements of expressionism. 2) Give each group an emotion card. Now, explain to the class that each group will be making two tableaus (a frozen stage picture that does not talk or move) that display their emotion. One of their tableaus should reflect realism and the other one should reflect expressionism. Remind them that every student in the group must be a part of both tableaus. 3) Give students 10 minutes to create their tableus and rehearse them. 4) Have the groups display their tableaus one at a time and have the class discuss the differences between the realism and the expressionist tableus. Closure: As a class and using the discussion questions on the resource page, discuss how you think expressionism will be used in Dear Charlotte. Assessment: Displaying tableaus and closure discussion.
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The Mysterious Letters
OBJECTIVE
The student will be able to demonstrate effective communication among team members and create specific characters through the utilization of theatrical tools in order to solve problems. Recommended Grade Level: 9th Time Required: 50 Minutes
TEKS
ELA TEKS
100.31 English Language Arts and Reading, English I (b) (24) Listening and Speaking/Listening. Students will use comprehension skills to listen attentively to others in formal and informal settings (26) Listening and Speaking/Teamwork. Students work productively with others in teams… Students are expected to participate productively in teams, building on the ideas of others, contributing relevant information, developing a plan for consensus-building, and setting ground rules for decision-making
THEATRE TEKS 177.315 Theatre, Level I (b) (1) (A) understand the value and purpose of using listening, observation, concentration, cooperation, and emotional and sensory recall (1) (D) develop and practice effective voice and diction to express thoughts and feelings
(2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (D) use physical, intellectual, emotional, and social 110.52 Creative Writing (b)(1) (B) demonstrate the distinguishing characteristics of various awareness to portray believable characters and convey a story when applying acting concepts, skills, and written forms such as fictional writing, short stories, poetry, techniques and drama in his/her own writing (E) employ physical techniques consistently to express (C) elaborate writing when appropriate such as using thoughts, feelings, and actions non-verbally concrete images, figurative language, sensory observation, dialogue, and other rhetorical devices to enhance meaning (D) employ various points of view to communicate effectively
MATERIALS NEEDED
Resource sheet (provided) A cup or hat (to draw names from) Notebook paper
32
The Mysterious Letters INSTRUCTIONS
Hook: Introduce the aliases below. Ben Franklin = Mrs. Silence Dogood - a pen name used in order to get his ideas published in the New-England Courant, which he was unable to do before. A total of 14 letters were written, multiple of which went into detail about Silence Dogood’s life. Theodor Seuss "Ted" Geisel = Dr. Seuss - adopted the name while studying at Oxford before moving on to create children’s illustrated stories that summarized and expressed societal issues in America during WWII. Joanne Rowling = J.K. Rowling - Used two initials as opposed to her first name, Joanne, to take on an air of gender neutrality. Her publishers thought this choice would encourage young boys to read the Harry Potter series if they didn’t perceive the author as a woman. Charlotte Brontë = Currer Bell - Used in conjunction with her sisters’ aliases, Acton Bell and Ellis Bell for Anne Bronte and Emily Bronte, respectively, as the three published poetry and novels throughout the 1840’s. The pen names were used to both hide gender and preserve their first and last initials. Questions to ask: What are similarities or differences between these aliases? What are the different purposes behind these aliases? Are any of them similar? Do you think any of these aliases were effective in satisfying their purpose?
Step by Step Activity Details: 1) Have students stand and “stage” a dinner party. It is not required to move desks, but is encouraged. In this dinner party, students should take on unique and visible character traits- examples including playing someone very old, very young, snoody, sleepy, sneaky, etc. (Please take a look at the resource page for different character ideas to share with your students.) Have students divide into groups of 5-6. Attached is a general script that you, as the instructor, will read as the “host.” Allow your students to react and converse within their groups about the events of the dinner party. (After the line “Tootles!,” have students sit with their group members.) 2) Have students create their own alias. The students should make note of their alias, but be sure not to share yet! This alias should somewhat relate to the student’s chosen character trait. Within the same groups, have the students write group members’ real names on slips of paper. Fold these up and mix them in a cup or hat. Have each student pull a name. If they pull their own, put it back and try again. This name will be the person to which they will write.
33
The Mysterious Letters INSTRUCTIONS (CONTINUED) 3) Separate from groups. Time for letter writing! Have each student get out a sheet of paper and compose a short letter addressed to their drawn name. The letter should contain (1) a clear objective from the author needing contact with whom they are writing, (2) detailing the events of the dinner party, (3) a place for the reader to meet the author, and (4) be from the student’s character’s point of view. An example is attached to the resource page- please take five minutes to present and explain if necessary. When finished, have students fold their letters in half and address the letter to their drawn name. Place all the letters at the front of the room (and maybe mix them up a bit to preserve anonymity). Closure When the entire class has placed their letters at the front, have students pick up the letters addressed to them. Return to the dinner party groups and read the letters. Have students try and guess who is linked to each alias based on the clues of the character traits and the details of the letter.
Assessment: Ask students these questions and have them discuss their answers within the dinner party groups: What clues helped you find the person who wrote your letter? What clues did you use in your letter to hint at who you really were? Do you think your clues were too easy or too hard? What defining characteristics did you base your clues off of? Do you think your alias was too easy or too hard to guess? Why? Why do you think real-life historical figures and artists create aliases? Now that you have attempted to hide or change your identity, do you think it is difficult for these figures and artists to do the same?
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Post-Show Lessons Table of Contents "The Writings of BrontĂŤ"
pg. 36
An English & Theatre Lesson
"The Byronic Hero"
pg. 38
An English & Theatre Lesson "It's Not This, It's This"
pg. 40
A History & Theatre Lesson
"Death by Charades"
pg. 42
A Science & Theatre Lesson "Changing Cultures"
pg. 44
A History & Theatre Lesson
"It's Lit!"
pg. 46
A Science & Theatre Lesson
"Project Runway Preparatory Program"
pg. 48
An Art & Theatre Lesson
"New Phone, Who Dis?"
pg. 50
An English & Theatre Lesson "Coffee Shop Time Machine" A History & Theatre Lesson
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pg. 52
The Writings of Brontë: How They Created Their Stories
OBJECTIVE
Students will be able to create and tell a story by using different strategies such as brainstorming, discussion, and improv. Recommended Grade Level: 9th Time Required: 45 minutes
TEKS
ELA TEKS English 1 (C9A): plan a piece of writing appropriate for various purposes and audiences by generating ideas through a range of strategies such as brainstorming, journaling, reading, or discussing
THEATRE TEKS Theatre 1 (C2B): define creativity as it relates to personal expression Theatre 2 (C2B): explore creativity as it relates to self and ensemble Theatre 3 (C2E): write dialogue that reveals character motivation, advances plot, provides exposition, and reveals theme Theatre 4 (C2E): create individually or devise collaboratively imaginative scripts and scenarios
MATERIALS NEEDED
Small objects (students will create backstories for these objects) ex: small ball, expo marker, ruler, key, rubik’s cube, toy soldiers, etc. (students can be told to bring items in advance)
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The Writings of Brontë: How They Created Their Stories INSTRUCTIONS
Hook: (for class discussion) Think about the toy soldier scene from the play Dear Charlotte. How do you think this eventually led the Bronte sisters to become writers? -Use of imagination led them to create interesting stories while playing with objects -What do you remember from the scene? What stuck out? Step by Step Activity Details: 1) Hand out objects (if students have not brought their own) and separate into groups of three or four. 2) Students will create stories for the objects given to them through improv (these will not be performed; we are replicating playing with toys and using imagination to create a story). Improv stories do not have to be super long or detailed. -Come up with a backstory or, -Invent a story that revolves around the object (ex: the necklace in Titanic) or, -Give the object an unusual function (ex: a ball becomes an apple) Assessment: Students use the storytelling tactics they learned during class to write their own short story in groups (stories can be about their improv scene but don’t have to be, and do not have to include the object. The objects replicate the toy soldiers the Brontes played with and do not have to be relevant to the final story created). Story must be 3-5 paragraphs long. Closure: Discuss how the objects helped in creating a story; relate back to toy soldier scene -Playing with toy soldiers helped Brontes become storytellers -Use of toys (small objects) helped stimulate imagination -Imagination flow led to creating stories
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The Byronic Hero
OBJECTIVE
Students will develop teamwork and creative writing skills by creating a cohesive devised script, while also applying fine arts knowledge to create dialogue and stage directions in their own words. Recommended Grade Level: 11th-12th Time Required: 45 Minutes
TEKS
ELA TEKS §110.52. Creative Writing (2) The student selects and uses recursive writing processes for selfinitiated and assigned writing. The student is expected to: (A) select and apply prewriting strategies to generate ideas, develop voice, and plan;
THEATRE TEKS §117.318. Theatre, Level IV (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (E) create individually or devise collaboratively imaginative scripts and scenarios.
MATERIALS NEEDED
Paper Writing utensils Performance rubric (provided) Resource sheet (provided)
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The Byronic Hero INSTRUCTIONS
Hook: (For the teacher) The Byronic Hero has lasted through modern literature, and has manifested in well-known characters such as Frankenstein’s Monster and Severus Snape. The Bronte sisters, too, learned to use this archetype in their novels, with Edward from Jane Eyre and Heathcliff from Wuthering Heights both being examples of Byronic. They are characters that readers love to hate, and your students will have to learn to really understand them. (For the students) To start with, make sure the students are aware of what makes a character a Byronic Hero and list a few of the examples in pop culture listed below (see resources), and have the students walk around the room emulating the chosen characters. Step-By-Step Activity Details: 1) Divide students up evenly into four groups. (If the class doesn’t divide evenly, the groups can be disproportionate.) 2) Have each group brainstorm a name and simple backstory for their own Byronic Hero. 3) Assign a conflict to each group for their character to overcome from the basic literary conflicts to each group for them to portray. (see resources) Have the students among the groups pass a page (or multiple) around, each student will write one line or stage direction at a time until they have constructed a full 2-3 minute scene. 4) The students will then cast and perform their scenes for each other. Closure: Give any available time for discussion and reflection on the project and what was learned. Assessment: Use a performance rubric to check grammar, quality, and overall understanding of the Byronic Hero. The rubric is not to critique the performer’s acting quality.
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It’s Not This, It’s This OBJECTIVE
The students will explore the differences in a child's imagination within the Bronte’s 19th century reality. Recommended Grade Level: 9th Time Required 55 minutes
TEKS
PSYCHOLOGY TEKS §113.45. Psychology Knowledge and skills. (4) Science of psychology. The student understands how sensations and perceptions influence cognition and behavior. The student is expected to: (A) explain the capabilities and limitations of sensory systems and individual perceptions; and (B) understand the interaction of the individual and the environment in determining sensation and perception.
THEATRE TEKS §117.315. Theatre, Level 1 Knowledge and skills. (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms.
MATERIALS NEEDED
Box of assorted props
40
It’s Not This, It’s This INSTRUCTIONS
Hook: Discuss what the students remember imagining as a child. Ask the students why was it easy to take something in reality like a playground and imagine it as something different. Tell the students to think back to Dear Charlotte. Ask them how the Bronte’s used their imagination in the play. (https://tinyurl.com/uhimagination) Step-By-Step Activity Details: 1)The teacher will provide box of props. It can be an assortment of things. For example, the student can select a hair brush, and use it as anything but a hair brush. The students will say “It’s not a hair brush, it’s a magic wand.” They would have to pretend to use it as the item they imagined it to be. Allow all students to have a turn. 2) Once all students have gone, each student will pick a new prop. Divide the students into 5 groups. The students will perform an improvised two-minute scene using the new props they picked in the scene. The students will have 5 minutes to discuss and rehearse their scene. Assessment: The students will improvised a short two-minute scene within their group. After each group has gone, ask audience if they identified what each prop was. Closure: Then discuss how they felt about doing the activity. What memories did it bring back from your childhood? Discuss how the Brontë children had to imagine an object as another object.
41
Death by Charades OBJECTIVE Students will be able to demonstrate their understanding of symptoms, as well as safe use of their voice and body while by performing the symptoms of common deaths in the 19th century. Recommended Grade Level: 9th-12th Time Required: 45 Minutes .
TEKS
ENVIRONMENTAL SYSTEMS TEKS §112.37. Environmental Systems, Beginning with School Year 2010-2011 (One Credit)(c) Knowledge and skills. (7) Science concepts. The student knows the relationship between carrying capacity and changes in populations and ecosystems. The student is expected to:(D) analyze and make predictions about the impact on populations of geographic locales due to diseases, birth and death rates, urbanization, and natural events such as migration and seasonal changes. . .
THEATRE TEKS
§117.315. Theatre, Level I, Adopted 2013(c) Knowledge and skills. (1) Foundations: inquiry and understanding. The student develops concepts about self, human relationships, and the environment using elements of drama and conventions of theatre. The student is expected to: (C) develop and practice stage movement techniques such as stage combat consistently to express thoughts, feelings, and actions nonverbally; (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (A) demonstrate safe use of the voice and body (E) employ physical techniques consistently to express thoughts, feelings, and actions non-verbally .
MATERIALS NEEDED Victorian Deaths Handout (provided) Death Cards (provided)
42
Death by Charades INSTRUCTIONS Hook: Watch How does your immune system work? - Emma Bryce video to have an understanding of how how our Immune system reacts to virus, and bacterial invaders. https://tinyurl.com/deathbycharades Step-By-Step Activity Details: 1) Pass out Victorian Deaths handout (Provided) paper to class giving them 5 minutes to review over the different diseases, and symptoms that accompany them. 2) Split class into two groups. a) Let the students create their own team names. 3) Have a stack of Death Cards (Provided) at the front of the class. 4) One by one each team member draws a card and acts out the symptoms of their selected death. Alternating teams 5) If the Charade performer needs help they can ask another member to help them as a prop. The team member they choose can not see the illness being portrayed, or act along with them, but they can identify the illness if it comes to them. a) This is helpful if the disease is contagious 6) Team members have 60 seconds to guess what is ailing their team mate 7) If the Charades performers says any word, they do not gain a point and their turn is over. 8) After each turn the drawn card is placed at the bottom of the stack. 9) Team with the most points wins Do's and Don'ts 1) Students are allowed to make noises (Moaning, coughing, wheezing, sneezing, vomiting, flatulence) 2) Students can use all Charades gestures a) Sounds Like - Pointing to their ear b) How many Syllables - Lay number of fingers on arm c) How many words - Holds up number of fingers in the air d) Length of word - make a little or big sign as if you were measuring with your hands 3) Groups are only allowed to guess 4 words. Check for Understanding/Closure: Hold a question and answer session. Take questions from the class and allow students and yourself to answer the questions. Some questions can be: 1) What made this exercise challenging? 2) What was easy about it? 3) Why is it important to know the causes, and symptoms of someone's illness? 4) How do you think medical professionals diagnose their patients with these illnesses. 5) Was diagnostics hard or easy for medical professionals?
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Changing Cultures OBJECTIVE
The student will analyze 18th century British culture to create games and dances that both use voice and movement, as well as a portrayal of a change in cultures. Recommended Grade Level: 10th Time Required: 45 minutes
TEKS
WORLD HISTORY TEKS §113.42 (26) Culture. The student understands the relationship between the arts and the times during which they were created. The student is expected to: §113.42 (C) identify examples of art, music, and literature that transcend the cultures in which they were created and convey universal themes.
THEATRE I TEKS Theatre 1 §117.315 (4) (A) Historical and cultural relevance. The student relates theatre to history, society, and culture. The student is expected to portray theatre as a reflection of life in particular times, places, and cultures;
MATERIALS NEEDED
Changing Cultures Handout (provided)
44
Changing Cultures INSTRUCTIONS
Hook: Have a small discussion with the class after the show. Ask them questions, such as: What did they think about the show? What influences during 19th century Britain do you think influenced the Brontes? What did you think about the Bronte siblings’ childhood? Why do you think they danced or played games the way they did?
Step by Step Activity Details:
1) Divide the class into 4 even groups. There is no specific number of students required per group. The students can either sit at a table or gather in a group. Assign 2 of the groups to the Dance category and the other two to the Games category. 2) Have the students read their assigned Changing Cultures handout section. 3) The students will then create either a dance or game based on their assigned category. The students can combine two or more existing games. The game or dance has to be a group presentation. Further instructions are on the Changing cultures sheet. 4) The students will now present their games or dances, each limited to 3 minutes. The games have to include the use of voice and movement. The dances can include voice, but they must use theatre principles, such as angling yourself towards the audience. At the end of their performance, the students will state what dances/games they based their creation on.
Closure: Lead a class-wide reflection. If the class is smaller, or time allows, you can go around the class asking everybody to reflect. If the class is larger or time is constricted, then ask for volunteers. The topics of the reflection should include: What did the students feel about the games they created? How did it feel like to change an existing game into something new? Do you have a different perspective on the Bronte’s childhood after creating your game or dance?
45
It's Lit!
OBJECTIVE
The students will be able to Comprehend the meaning of color in lights, and how color can affect a set design. Recommended Grade-Level: 10
Required Time: 40 Minutes
TEKS
PHYSICS TEKS
THEATRE TEKS
§112.38. Integrated Physics and Chemistry, (5) (G) explore the characteristics and behaviors of energy transferred by waves, including acoustic, seismic, light, and waves on water, as they reflect, refract, diffract, interfere with one another, and are absorbed by materials;
§117.324. Technical Theatre, Level II, (2) Creative expression: performance. The student develops and demonstrates technical theatre skills through the pre-production processes from concept (script or original idea) to performance.
MATERIALS NEEDED
Light on their phone Colored tissue paper (Green, Blue, and Red) Action figures/ model toys Color chart (provided)
46
It's Lit! INSTRUCTIONS
1.) (Before Class) The teacher will set up workstations for the students. This consist of a set of green, red and blue tissue paper, and a toy or model. Be sure to set up the station for two students. 2.) The teacher will hand out the color sheets and explain to students the meaning of color in lighting. Ask the students about what red (or any example color) means to them? What emotion can it invoke? Explain what the colors mean on the chart and how that color can affect the feeling of the scene. Red being an angry color ( meaning it means danger or hate), blue being a calming color, and green being full of life. 3.) The teacher will split the students into groups of two, and sent to a workstation. 4.) The students will be asked to take their phones out and turn the flashlight on, while the teacher turns the lights out. 5.) Students will then be instructed to set the model toy up and flash their light on it, then discuss what a white light means and what emotion the students look for? 6.) Then the students will be asked to flash the light with the tissue paper individually in front of it at the model. (this can be any color paper. However, make sure that it is one phone flashlight flashing at the model). Talk to them about what they think that scene looks like in relation to the color. Discuss in a group does it look like war, a party, or a sad monologue? 7.) After the students use one color, the teacher will ask that the students take both their phones with different color paper and shine it in the same spot on the The teacher will go table by table and discuss what color combination they used, how does it make them feel, and what is the emotion that this color invokes? Closure: Are they understanding and using the color chart? Are the students understanding how the colors help tell a story? Is the student working with the model and the color together, to help create a picture with emotion?
47
Project Runaway Preparatory Program OBJECTIVE
The student will be able to create a design for Dear Charlotte by analyzing historical research, applying basic design concepts, and becoming familiar with fashion from the 1840's. Recommended Grade Level: 9th and 10th Time Required: 50 minutes
TEKS
ART TEKS §117.302. Art, Level I (1) (B) identify and understand the elements of art, including line, shape, color, texture, form, space, and value, as the fundamentals of art in personal artwork §113.42. World History Studies (26) (B) analyze examples of how art, architecture, literature, music, and drama reflect the history of the cultures in which they are produced;
THEATRE TEKS §117.316. Theatre, Level II, (4) (A) analyze historical and cultural influences on theatre; §117.323. Technical Theatre, Level I (4)(A) conduct research to establish historical and cultural accuracy in theatrical design; §117.324. Technical Theatre, Level II, (4)(A) apply historical or cultural accuracy from research in theatrical design;
MATERIALS NEEDED
Copies of Project Runway Preparatory Program Packet (provided) Coloring Utensils Computer Projector
48
Project Runway Preparatory Program
INSTRUCTIONS
Hook: 1) Play the video ‘How to Illustrate for Costume Design’ on youtube at: https://tinyurl.com/uhcostumedesign 2)While video is playing out the Project Runway packets to the students. Step by Step Activity Details: 1) Read the First Page of the packet out loud to explain the challenge. 2) Read through the Design Terms with the students. This starts on the second page beginning with “Rendering” and ends on page six with the “Colors and Symbolism” Chart. 3) Have the students browse through the rest of the packet for inspiration and information about the sources used. 4) Have students begin their work. Closure: 1) Once finished ask them to find a partner and have them present their designs to one another. 2) When presenting they must justify at least three choices they made in their design. Assessment: Have each partner will write on the back of their rendering what the 3 things that they learned from the person’s choices. (5 minutes) If the students have difficulty in justifying their choices tell them to explain the why. Ask: Why did they implement specific colors? How does the pattern represent the character? Were there any examples from the museum that inspired their choices? What is the importance behind including unique design elements?
49
New Phone, Who Dis?
OBJECTIVE
The students will be able to compare and contrast the differences between modern communication and nineteenth-century communication. Recommended Grade Level: 9th Time Required: 50 Minutes
TEKS
ELA TEKS
THEATRE TEKS
§110.31. English Language Arts and Reading, English I (14) (A) write an engaging story with a well-developed conflict and resolution, interesting and believable characters, and a range of literary strategies (e.g., dialogue, suspense) and devices to enhance the plot; (15) (B) write procedural or workrelated documents (e.g., instructions, emails, correspondence, memos, project plans) that include: (i) organized and accurately conveyed information; an (ii) reader-friendly formatting techniques;
§117.315. Theatre, Level I (2) (F) create, write, and refine original monologues, improvisations, scenes, or vignettes that reflect dramatic structure to convey meaning to the audience through live performance or media forms.
MATERIALS NEEDED
Slideshow (provided) Paper Pen/Pencils
50
New Phone, Who Dis? INSTRUCTIONS
Visit the link below: https://tinyurl.com/newphonepowerpoint Hook: The students will read a letter written by Charlotte Bronte and discuss the differences between communication now and during the 19th century with the class. Step by Step Activity Details: 1) Each student will write a short section of a letter in the style of the nineteenth century and then recreate the section in the style of modern communication (Text, Facebook, Instagram, Email, Etc). 2) Have the students create a reason for them writing. Are they far away from home? Are they in school? Are they writing because someone they know is sick? 3) Have the students create whom they are writing to. It can be a parent, sibling, friend, or even a boss. Assessment: 1) Have four students come up and read their letters out loud to the class. The rest of the class should turn in their paper to the teacher. 2) After the students have come up, the students should have a short discussion on the differences between the two forms of communication. Closure: Using the same paper the students wrote their letter on, the students should write a short paragraph on how communication has changed over time.
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Coffee Shop Time Machine
OBJECTIVE
The students will be able to analyze information that they find about historical figures, and create scenes that have given circumstances and characters that are believable. Recommended Grade Level: 10th Time Required: 50 Minutes
TEKS
WORLD HISTORY TEKS
THEATRE TEKS
§113.42. World History Studies (c) (29) Social studies skills. The student applies critical-thinking skills to organize and use information acquired from a variety of valid sources, including electronic technology. The student is expected to: (B) explain how historians, when examining sources, analyze frame of reference, historical context, and point of view to interpret historical events;
§117.316. Theatre, Level II, (c) (2) Creative expression: performance. The student interprets characters using the voice and body expressively and creates dramatizations. The student is expected to: (D) apply physical, intellectual, emotional, and social interactions to portray believable characters and convey a story when applying acting concepts, skills, and techniques; (F) create, write, devise, and refine original monologues, improvisations, scenes, or vignettes to convey meaning to the audience through live performance or media forms.
§113.42. World History Studies (c) (26) Culture. The student understands the relationship between the arts and the times during which they were created. The student is expected to: (C) identify examples of art, music, and literature that transcend the cultures in which they were created and convey universal themes.
MATERIALS NEEDED Internet Access (for each student); Maybe reserve the Computer Lab A board to write on Markers Note cards
52
Coffee Shop Time Machine
INSTRUCTIONS
Hook: 1) The Students will be seated as the lesson starts. Either project, or draw this table on the board (Don’t fill it in yet):
2) Next, have the students start by estimating what they think the sections could have in them. After they have given their estimations, fill out the table row by row starting at the top. Go through each artist and give about a sentence of background. This is to show the drastic differences that some artists have with luck. People like Charlotte Bronte, Vincent Van Gogh, and Edgar Allan Poe have had significant impact on today’s world with their art, but some never see most of the money for their artwork.
Step-By-Step Activity Details 1) Now that the students have had the opportunity of seeing the numbers of what these artists actually received, they will be split into groups of 2 (if need be you may double assign). They will be assigned one artist that became wealthy Posthumous, and one that was wealthy Prehumous, however they should not know which one they are. (From the table below)
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Coffee Shop Time Machine
INSTRUCTIONS (CONTINUED) 2) Once they have received their assignments they should start researching these figures. Find out whether they were wealthy before they died, or after. Also they should find at least 2 facts about their life, and include their most famous piece of work to use for a performance. 3) They will now pretend they are in a coffee shop where these two figures from history will meet. They must write a ten-line scene (example on resource page) in which they meet while trying to get a cup of coffee. They must include the following facts; if their historical person was poor or wealthy at the time, at least 2 facts that can be said about their figures, and each figures most famous piece of work. Example can be found on the resource page.
Assessment: 1) The Students will perform a 10 line scene of their characters after they run into each other at a coffee shop. 2) They must at least contain 2 facts about the character in the scene, and we must be able to discern which one is rich Prehumous, and which one Posthumous. 3) Once the students complete their performances they should take a bow and say “I am (Insert figure here)” to close out their performance. 4) Repeat until all the groups have gone.
Closure: 1) Once they have all completed, allow them to take their seats. 2) Give the class note cards and write on the board a simple question. “Do you think that the success of artists during their lifetime has changed from the past to now? Why, or why not?” This should require 2-3 sentences and any answer can be argued.
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Resources Table of Contents
55
"A Brontë Family Portrait"
pg. 56
"The Importance of Choosing Words"
pg. 60
"Location, Location, Location"
pg. 64
"The Game of (British) Life"
pg. 66
"The Difference is X"
pg. 71
"Finding Your Accent"
pg. 75
"Will That Be Cash or Card?"
pg. 77
"What the Heck Is That? A Look at Expressionism"
pg. 79
"The Mysterious Letters"
pg. 87
"The Byronic Hero"
pg. 89
"Death by Charades"
pg. 91
"Changing Cultures"
pg. 97
"It's Lit!"
pg. 98
"Project Runway Preparatory Program"
pg. 100
"Coffee Shop Time Machine"
pg. 113
The Family Structure of: The Brontë Family! When it comes to famous families several come to mind, The Addams Family, The Simpsons and who could forget, the Kardashian's. But a family that many may not have heard of is The Bronte Family. The Bronte’s were a 19th century family that lived in Haworth, in Yorkshire, England. The family was known for their many accomplish but most notably was the literary works of the three sisters, Emily, Anne, and Charlotte. The sisters published many poems and novels such as Wuthering Heights, The Tenant of Wildfell Hall, and the famous Jane Eyre. Their literary accomplishments wasn’t the only thing that made them well known, they had a dynamic family structure that was constantly changing throughout their lives. The Bronte’s began as a nuclear family consisting of Reverend Patrick Bronte, Maria Branwell and their five children; Maria, Elizabeth, Charlotte, Branwell, Emily and Anne. After the tragic death of their mother and the two eldest siblings Maria and Elizabeth, Patrick was in dire need of help and soon after their aunt Elizabeth Branwell joined the family and helped raise the children. This resulted in the family changing from a nuclear family to an extended family. Soon after however, the family structure is changed once again. Elizabeth Branwell died from a bowel obstruction leaving Reverend Bronte to care for his children in a single parent family structure. Despite the history of tragic deaths, the Bronte family adapted within different family structures. No matter what structure they became, they were always still a family.
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Name:_______________________ Date:__________________ Group Members:_________________________________________________________
Types of Family Structures! Nuclear: A mother and father, with one or more shared children.
Example:
Single-Parent: One parent, with one or more children.
Example:
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Types of Family Structures!
Extended: Includes all of the relatives in a family, such as grandparents, aunts, uncles, and cousins.
Example:Â
Adoptive: A mother and father raising a child who is not biologically theirs.
Example:Â
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Types of Family Structures!
Blended: A combination of families which may include children from the present union, and children from previous relationships/marriages.
Example:
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The Importance of Choosing Words Word Game Cards
AUTHOR
CHARACTER
NOVEL
WRITER
STORY
BOOK
BOOK
BOOK
READ
JOURNALIST
ROLE
STORY
QUILL
CHURCH
PAPER
FEATHER
GOD
SHEEPSKIN
PEN
BIBLE
DIPLOMA
BIRD
JESUS
PARCHMENT
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REVEREND
TYPEWRITER
MANOR
CHURCH
KEYBOARD
HOUSE
PASTOR
COMPUTER
MANSION
PRIEST
TYPE
LORD
BOARDING
ENGLAND
COUNTRYSIDE
UNITED KINGDOM
FIELD
SLEEP
LONDON
LAND
LIVE
BRITIAN
COUNTRY
AWAY
GOVERNESS
POEM
PUBLISH
NANNY
RHYME
DISTRIBUTE
TEACHER
SONNET
PRODUCE
TUTOR
SONG
BOOK
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SCHOOL
ALIAS
BELGIUM
CEMETERY
NICKNAME
EUROPE
DEAD
OTHERWISE
FRENCH
GRAVE
NAME
BRUSSELS
BURY
HEADSTONE
SHOES
LATIN
DEAD
FEET
DEAD
BURY
WALK
ROME
GRAVE
BOOTS
CLASSIC
LETTERS
MARRIAGE
SCHOOL
RINGS
EDUCATION
STAMP
PRIEST
CLASS
ALPHABET
CEREMONY
STUDENT
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63
CARRIAGE
CHILDREN
DISEASE
HORSE
KIDS
SICK
TRAVEL
BIRTH
DOCTOR
CARRY
MINOR
BACTERIA
WRITE
PORTRAIT
FAMILY
PEN
PICTURE
RELATED
PAPER
PAINT
BLOOD
STORY
MODEL
PARENTS
Location, Location, Location Resources
SCRIPT
Person 1: Hey Person 3: Oh, hey Person 2: We haven’t seen you in such a long time Person 4: Yeah, we’ve been busy Person 1: You could’ve called Person 2: Or sent a message Person 3: I lost the number Person 2: Oh Person 1: Well, do you want it again Person 4: Sure Person 3: We have to go now Person 1: So soon Person 4: We’ll get in touch soon Person 2: That would be nice Person 3: Yes, it would
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Location, Location, Location Resources
SETTINGS
Zoo Coffee shops Gym School hallway Park Movie theatre Grocery store Swimming pool Football game Classroom Museum Amusement park Hospital Nature trail Prom Police station
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The Game of (British) Life Resources RURAL LIFE
After the hungry years of the 1840’s that had bad harvests, wet summers and the potato blight (mainly in Ireland) things began to improve. During the mid-Victorian decades, farming appeared to be blessed with an unstoppable prosperity in many parts of the world. Growing cities, railways, steamships, and more modern machinery provided rich and expanding markets. Improved plant strains increased the harvests. The collapse in the industry came in about the early 1880's with bad harvests, outbreaks of disease in livestock and falling wheat prices, especially in Europe. Many farmers who had farmed the same land for years went out of business. It wasn't until around the end of the 1880's that things began to again improve. The romantic view of rural life in England in lots of cases was far from true. Farm laborer’s cottages were very often cramped and cold with leaking roofs and broken windows. Their diet was often very poor and their clothing was often handed down from father to son. It depended on whom the farm workers were employed by as to what their accommodation was like. Some wealthy landowners built decent cottages for their workers and they were generally free but some landowners didn't really care how poor and dirty the farm workers cottages were. Many workers relied on their small gardens to grow vegetables and maybe keep a pig. They would make their own ale, cider and fruit wines. The corn gleanings collected after harvest would enable them to make bread.
Other Workers -Blacksmith (Smithy): The blacksmith was an important figure in the village. As well as forging all the bars, hooks, nails hinges and other ironwork needed, his main task was to shoe the horses. -Wheelwright: It was the wheelwright who made the carts and wagons for local use. -Woodworker: Many men earned their living as woodworkers of one kind or another, making chair legs, poles and pegs on their lathes, or shaping wooden bowls, spoons, walking sticks, fence posts or clogs to which the blacksmith added iron tips. -Thatcher: The Thatcher covered the roofs of village houses with a straw thatch of wheat, rye or reeds. -Basket making: Basket making was performed by many cottagers who grew their own osiers (native or cultivated kinds of willow trees or shrubs), cutting and stripping the rods themselves, seasoning them, peeling and preparing them from the point of view of appearance. Sometimes baskets were made of rushes instead of osiers. -Mason: The Mason worked on the stonework in the village like churches and bridges etc. The Monumental Mason made the gravestones.
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The Game of (British) Life Resources VICTORIAN DISEASES
During Victorian times, Middle-class men were expected to live to about 45 and workmen and laborers maybe around half of that time. Children reaching the age of 5 were lucky, due to lack of vaccination. -Diphtheria: a highly contagious, common childhood disease. Symptoms were the formation of a thick gray membrane in a child’s throat making him difficult to breathe. Growth was frequently accompanied by Fever and weakness and several times end result was death. -Tuberculosis: Consumption was the tuberculosis of the lungs. Weaknesses, fatigue, wasting away, blood in the lungs were the symptoms of this disease. It was very difficult to treat this disease. It killed hundreds of people in the nineteenth century in England. People infected were sent to a sanatorium. -Cholera: The first outbreak of Asiatic cholera in Britain was at Sunderland during the autumn of 1831. There was a terrible epidemic of cholera between 1832 and 1853. Dr. John Snow took much time to convince the establishment that cholera is a water-borne disease in 1854: and not because of bad smells. Cholera was a dreadful disease as its consequences were terrible. It was caused by the use of contaminated drinking water. Nausea, dizziness, vomiting, diarrhea, overwhelming thirst, cramps were the popular symptoms. Death followed within 24 hours of the first symptom. It was estimated that in 1848, 2000 was the weekly death rate in England due to this disease. -Poliomyelitis: primarily affects children, attacks the spinal cord and brain, resulting in the child finding his limbs paralyzed after waking up. Bed rest was the only way to help in lessening the effects of the disease.
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The Game of (British) Life Resources ROLES OF WOMEN IN THE VICTORIAN ERA
Role of Victorian Women of the Higher Class Women who belonged to the nobility class lived and enjoyed a life of luxuries. These women spent most of their time attending tea parties and balls and the remaining time they would spend in knitting and horseback riding. Women had several attendants to look after them. They were expected to be highly educated. Their main job was to effectively instruct the servants on what is to be done and to groom younger girls of the same class (nobility) to become women.
Role of Victorian Women of the Middle Class After the noble class came the middle class. These people were not as rich as the nobles though many of the people of this class tried mingling with the noble class people. The women belonging to this class were expected to take education, help in the family business and try to get married into the nobility. At the close of the Victorian era, few women of this class were self-employed by being a nurse, writer etc. The Upper Working Class tried a variety of jobs and earned a decent livelihood by becoming a governess, a housekeeper or a schoolmistress. Lower Working Class, on the other hand, included professions like tradeswoman whereby the women sold their own goods and service to the people of their village or cleaned or worked as housekeepers to the upper middle class. The only duty cast upon a Victorian woman was to keep her husband happy and raise her children for which they groomed right from their childhood days. The rights which the women enjoyed were similar to those which were enjoyed by young children whereby they were not allowed to vote, sue or even own property.
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The Game of (British) Life Resources VICTORIAN AGE LIFE OF PEOPLE IN ENGLAND, FAMILY, CHILDREN, SOCIETY
During the Victorian era, the family unit was held very highly and was precious to the people within this time period. In the Victorian home life, the head of the family would, of course, be the father who was usually strict and the children learned to obey his rules and commands without questioning him. The children had much respect for their fathers to the extent that they always spoke in politeness to him and called him sir. Many were scared of the consequences rudeness would bring or answer back in a cheeky manner therefore never even considered this.
Life of Victorian Parents Moving on in the Victorian home life, we look at the mother. She was usually very sociable and would keep her mind and energies focused on planning great dinner parties, making regular trips to her dressmaker and socializing with friends. But the mother did not cook or clear as this was the servant’s role. In the Victorian era, the father and the mother both took great responsibility in ensuring that their children were brought up in the best way possible to make sure that they would mature into a respectable, thoughtful adult. You may have heard of the old saying “Spare the rod and spoil the child” which was, in fact, a saying Victorians firmly believed in.
Children’s Life Next within the Victorian family unit are the children. Victorian England life at this time for children meant that they did not see much of their parents. The bulk of their time would be spent with the nanny or in the nursery where it would be the nanny’s responsibility to look after, care for and bring up the children. So the nanny’s job was absolutely crucial to the children growing up as they provided amusement, emotional care, and physical care as well as contributing to their education. When the children grew up, only the boys were expected to work, the daughters stayed at home with their mother. They were expected to find a suitor and to marry as soon as possible.
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The Game of (British) Life Resources VICTORIAN ERA CHILDREN’S EDUCATION
Rich children were lucky as compared to poor children. Governesses used to teach the kids at home. Once older, they were sent away to a public school such as Eton or Rugby. Girls did not enjoy that aspect. They typically stayed at home and were taught singing piano playing and sewing.
Victorean Teachers Teachers in Victorian times can be described in two words: Strict and scary. Children were expected to do what the teacher asked, otherwise they would get a punishment. Punishment would be typically a rap across the knuckles with a ruler, or a clip around the ears. Unmarried ladies were more likely to take the teaching job, giving teachers the title of “miss”. After getting married, they stopped teaching. The pay being poor, men preferred not to take up teaching jobs.
Victorean Teaching Victorian lessons focussed on three Rs-Reading, wRiting and aRithmetic. Kids used to “mug” things up to remember. By today’s standards, you can imagine how boring it would have been for both the children as well as the teachers. Pictures of animals used to be kept on the desks as the subject for the lesson. The idea was to observe and then talk about what they have seen. However, in practice, it used to be more of a copying exercise. Geography meant remembering countries on a globe or chanting the names of railway stations between London and Holy head. A school lesson timetable from the late 1800s shows interesting subjects like needlework, cookery, and woodwork. Even practical subjects like those were a matter of listening and copying what the teacher writes.
Victorean Punishment Slow or dumb children were made to wear a dunce’s hat, a pointed hat with the letter D on it. They would then stand in a corner for an hour or more. Sometimes they stood on a small stool, the dunce’s stool. At that time there was no understanding that some children had learning difficulties or learned more slowly, and teachers thought that these children were simply naughty or rebellious.
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The Difference is X Resources History of the Women’s Rights Movement
With the inclusion of Title IX in the Education Codes of 1972, equal access to higher education and to professional schools became the law. The long-range effect of that one straightforward legal passage beginning “Equal access to education programs…,” has been simply phenomenal. The number of women doctors, lawyers, engineers, architects and other professionals has doubled and doubled again as quotas actually limiting women’s enrollment in graduate schools were outlawed. Athletics has probably been the most hotly contested area of Title IX, and it’s been one of the hottest areas of improvement, too. The rise in girls’ and women’s participation in athletics tells the story: One in twenty-seven high school girls played sports 25 years ago; one in three do today. The whole world saw how much American women athletes could achieve during the last few Olympic Games, measured in their astonishing numbers of gold, silver, and bronze medals. This was another very visible result of Title IX.
Courtesy of https://tinyurl.com/uhwomensrights
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The Limits of Women’s Education
The education of girls and women in early modern Europe varied widely according to social class and geographic locations. Unquestionably, however, families systematically favoured the education of their sons over that of their daughters. Amongst the rural and urban poor, who constituted the vast majority of the population, school education generally was not an option, so that the poor at best received vocational training which rarely allowed forms of social mobility. Nonetheless, schools for the poor did multiply during the eighteenth and early nineteenth century, thanks in large part to religious associations and orders, and girls were not forgotten in this effort to bring religion to the masses. Wealthy families, on the other hand, saw other reasons to educate their daughters and this translated into forms of home education as well as the development of elite boarding schools mainly within urban areas. Access to learning was not just contingent on access to schools, however. In general, the growth of girls’ education depended on contemporary attitudes about the relationship of the sexes and on women’s place within society. Initiatives that favoured girls’ education were always buttressed by arguments about how this education would serve to create better, more pious families. Rarely, if ever, was girls’ education seen as a liberal right contributing to the development of the individual. For the entire period, then, girls’ education remained limited both in its scope and its ambitions.
Courtesy of https://tinyurl.com/womenseducation
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Women's History in America
Traditionally a middle-class girl in Western culture tended to learn from her mother's example that cooking, cleaning, and caring for children was the behavior expected of her when she grew up. Tests made in the 1960s showed that the scholastic achievement of girls was higher in the early grades than in high school. The major reason given was that the girls' own expectations declined because neither their families nor their teachers expected them to prepare for a future other than that of marriage and motherhood. This trend has been changing in recent decades. Formal education for girls historically has been secondary to that for boys. In colonial America girls learned to read and write at dame schools. They could attend the master's schools for boys when there was room, usually during the summer when most of the boys were working. By the end of the 19th century, however, the number of women students had increased greatly. Higher education particularly was broadened by the rise of women's colleges and the admission of women to regular colleges and universities. In 1870 an estimated one fifth of resident college and university students were women. By 1900 the proportion had increased to more than one third.
Courtesy of https://tinyurl.com/uhwomenshistory
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Venn Diagram Template
Education for Women
During the 1830's
Present Day Similarities
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Finding Your Accent Resources RESOURCES Sound Exercise
Repeat these sounds as quickly as you can. Stress the underlined sounds. ba-da-ga-da - ba-da-ga-da - ba-da-ga-da - ba-da-ga-da - ba-da-ga-da - ba-daga-da - ba ga-da-ba-da - ga-da-ba-da - ga-da-ba-da -ga-da-ba-da - ga-da-ba-da - ga-daba-da - ga pa-ta-ka-ta - pa-ta-ka-ta - pa-ta-ka-ta -pa-ta-ka-ta - pa-ta-ka-ta - pa-ta-ka-ta pa-ta-ka-ta - pa ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta - ka-ta-pa-ta ka-ta-pa-ta - ka va-la-wa-la - va-la-wa-la - va-la-wa-la -va-la-wa-la - va-la-wa-la - va-la-wa-la va-la-wa-la - va wa-la-va-la - wa-la-va-la - wa-la-va-la -wa-la-va-la - wa-la-va-la - wa-la-va-la wa-la-va-la - wa Tongue Twisters
Repeat each sentence three times as fast as you can. Walt wondered if Vern valued the wonderful violets in the window. The leisure ledger was a pleasure to measure. Lee never laughed a lot like Lou’s nephew. Shelby the Schnauzer was chastised for chewing the shoe. Rhythm Exercises
Read the poem. Stress the underlined words/portions and pause at the slashes. There once was a developer named Bob, / who couldn’t find joy in his job. / He wanted to quit / but he couldn’t admit / that he did / love to hear / himself sob.
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Finding Your Accent Resources
RESOURCES CONT. Intonation Exercises
Raise the pitch of your voice on each word that’s underlined. I will make my voice change at this time. I will make my voice change at this time. I will make my voice change at this time. Stretching Exercises
Stretch the word endings at the end of each phrase. I would have call--------ed, but I wasn’t su------re if it was a good idea-----------. Stress Exercises to Change Your Focus
Stress each word that is in underlined. What have you been doing? What have you been doing? What have you been doing? What have you been doing? What have you been doing?
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Will That Be Cash or Card? Resources
In your stations today, you will each start off with a certain amount of money; this will represent your family’s “income”. You will need to keep track of how much money your family spends at each station and keep in mind you will need money for every station, so you can’t blow it all at one place!! Make sure to choose who is the Mother, Father, Children in your family and keep that in mind while budgeting later! Group Descriptions Group A- In your family your father works is a farmer and your mom stays home to take care of the children, cook, and clean. There is 2 kids in your family. You are only allotted 500£ for this exercise. Group B- In your family, your father and your mother both work! The Father is a Reverend and your mother is a seamstress. There are 2 kids, but they are in school all day, so you don’t have to worry about childcare. You are allotted 800£ for this exercise. Group C- Your family owns most of the land in your city. You have a big home on a big lot of land with horses and cows and lots of things to do and see! There are 2 children in your family! 1 is in school, but one is a toddler and stays home with a nanny. Your family is allotted 1050£ for this exercise. Here we go!! Station 1: All about the food! Plan A- 150 £ - The Healthiest and Tastiest option! This meal plan comes with seafood, poultry, steak, and a multitude of fresh vegetables. Full stocked fridge and pantry. Your family can eat out 3 days a week. Plan B- 100 £ - Lots of chicken and ground beef. Some Fresh Vegetables and plenty of frozen. A lot of snacks and variety. Your family can eat out once a week. Plan C- 50 £ - A lot of pasta, potatoes, and beans. Frozen Meals. Can eat Fast food meal with family once a week.
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Will That Be Cash or Card? Resources Station 2: Home Sweet Home! What kind of place are you living?! A- A cottage in the countryside. There is a lot of space for the kids to play outside, but inside it is quite small. 150£ B- Beautiful,big, new home, right outside of the village close-by. Lots of room inside and outside. Barns and sheds and a small guest house for maids, nanny’s, governess, or whatever you decide. . 400£ C- Medium size home in the countryside. Decent space for the family inside and out. 200£ Station 3: Education! Where are your kids going to school? A- Private school tutors after-school clubs’ sports programs 200£ B- Public school, still able to afford them to get tutors and go to some afterschool programs 100£ C- Public school. Free 0£ **Daycare fee: If you are in a family where both parents work, add a daycare fee of 50 £ Station 4: Clothing! New school year and, Oh no!!, none of the kids fit into their old school clothes. A- Each kid gets one new outfit and no new shoes. 50£ B- Each kid gets two outfits and a new pair of shoes. 100£ C- Each kid gets four outfits and two new pairs of shoes. 200£ Station 5: It has been awhile!!! Does your family have the money to go on a Vacation this year? A- Vacation Time! Take the whole family on a vacation to the Beach for a couple of weeks for the summer. 200£ B- Stay at home, have a family game night. Not in the budget. 0£ C- Visit a family member in a city a couple hours away. 100 £
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What the Heck Is That? A Look at Expressionism Resources
Gustave Courbet “The Desperate Man”
David Padwarney “Untitled m976”
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What the Heck Is That? A Look at Expressionism Resources
Fransico de Goya “Unknown”
Nick Leppman Untitled
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What the Heck Is That? A Look at Expressionism Resources
Dima Dmitriev “Jump for Joy”
Paul Klee “Hungry Girl”
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What the Heck Is That? A Look at Expressionism Resources
Cagnaccido di San Pietro “Portrait of Segiarce Vighi”
Nick Leppman “Study of an Angry Man”
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What the Heck Is That? A Look at Expressionism Resources
Igor Barkhatkov “Portrait of a Women”
Grant Wood “American Gothic”
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What the Heck Is That? A Look at Expressionism Resources
Shekiha Rajaria “The Scream of Joy”
Darwin Leon “The Delusional Confusion”
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What the Heck Is That? A Look at Expressionism Resources
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What the Heck Is That?  A Look at Expressionism Resources Discussion Guide (For the Teacher) Hook Activity- Comparing Paintings? (5 minutes) It is suggested that you write these on the board so that the students make have a self-paced discussion. What are the different elements of the paintings? Are they similar or different? How do the two paintings make you feel? Do they make you feel different things or similar things? What do you think the artists were thinking when they painted these pictures? Discussing Hook and Expressionism? (10 minutes) Do both of the pictures make you feel something? Do they use different strategies to achieve these feelings? What are the major differences between the pictures styles? Does anyone know what expressionist means? When an artist cares more about displaying the feeling of an experience rather than how the experience actually looks or sounds. This can be done in visual art, theatre, and music. With this in mind, how are the pictures different now? Discussing Students’ Tableaus Use as few or as many questions as you have time for. Can you guess their emotion? Why? What does the realism tableau make you think of? What does the expressionist tableau make you think of? What are the differences between the tableaus that reflect realism and those that reflect expressionist? Which one is more powerful? Why? Expressionist Use in Theatre Use as few or as many questions as you have time for. How do you think expressionism is used in theatre? Why do you think a playwright would want to use expressionist theatre? Why do you think a director would want to use expressionist theatre? What does the audience get from expressionist theatre?
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The Mysterious Letters Resources Chart of character ideas. Feel free to use all of these or only some- especially if students would like to create their own!
A cowboy
Sneaky
A surfer
Loves knitting
Loves cats
Has a cold
Has 5 kids
A painter
Clumsy
Hungry
Thirsty
Moviestar
A spy
Grumpy
The drummer in a band
The singer in a band
A salesman for tupperware
Plays ice hockey
A thief
Always taking selfies
A camp counselor
Plays the trumpet
A chef
A model
A sailor
A zookeeper
A truck driver
A weatherman
A librarian
Very old
Very young
Snooty
Plays football
Plays guitar
Lives in the forest
Script for the “host” of the dinner party:
“Hello all! Thank you for coming to my dinner party to celebrate my announcement for running for state senator. I’m so happy you’re all here. I know some of you from work, from high school, or you might be my neighbor- either way, I want you guys to get to know each other! Introduce yourselves!” (Allow students to say their names and tell the others what they do. This should be done with their character traits in mind.) “Amazing. Now, is anybody hungry? I’m going to come around and bring cheese and crackers. Please converse and enjoy.” (Allow students to continue speaking and pretend to come around to each group, serving cheese and crackers.) “Wonderful. Now that I have you all here- oh. Oh my. The crackers are stale. I’ll come back with more. I’m sure you can keep yourselves entertained!” (Walk to another part of the room, portraying the “kitchen.” After getting the new crackers, walk around to the groups and serve.) “Much better. I look forward to speaking with you all about my running. But- oh! Oh my! The dogs have gotten out!” (Point at the ground, a bit frantically, as if two small dogs have gotten out and are running around sniffing the guests.) “Oh goodness! Let me put them away. Please, converse among yourselves!” (“Put the dogs away” by walking to another part of the room. Give the students a moment to converse.) “So sorry about that! This dinner party sure has gotten a bit out of hand. Oh, my. Did you all hear that? It sounded like a big boom! Let me go check.” (Allow students to react and converse among one another. Walk to a corner of the room and “check” the transformer outside.) “Well, sorry everyone. It seems that our tranformer outside has exploded. The power has gone out! It looks like it’ll be getting pretty warm in here now! Maybe tonight isn’t the best night to have a dinner party. I hate to cut it short, but I’ve got a unit to fix! Tootles!”
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The Mysterious Letters Resources An example letter; addressed to James from a very sleepy member of the dinner party.
Dear James,
I enjoyed meeting you at the dinner party. I wanted to write you and continue our conversation about pillows. Unfortunately, I can’t let you know who I am. The authorities are close- they’re looking for me. I can’t explain why. But I need these pillows. After our host left to grab new crackers, you mentioned you worked in a mattress store in high school. But when the dogs got out, you were interrupted during a lovely speech about the best pillow you had ever slept on. Before I had the chance to inquire about this marvelous invention, the power went out! I must learn of this product with which I can lay my head. Please, meet me at the corner of Slumber Rd. and Dusk Ave. at the Cozy Corner. Stay cloaked. Sincerely, F. Nightingale
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The Byronic Hero Resource Page
B Y R O N I C H E R O E S I N P O P U L A R C U L T U R E Severus Snape - Harry Potter Series Batman/Bruce Wayne - Batman Comics Darth Vader - Star Wars The Monster - Frankenstein Jay Gatsby - The Great Gatsby Elsa - Frozen Hamlet - Shakespeare’s Hamlet B A S I C L I T E R A R Y C O N F L I C T S Man vs. Man Man vs. Technology Man vs. Self Man vs. The Supernatural Man vs. Nature Man vs. Society I M P O R T A N T B Y R O N I C H E R O Q U A L I T I E S Proud Moody Cynical Societally Defiant Passionate and capable of deep affection
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)stnioP 0( .citsilaernu dna tnetsisnocni llarevo erew sretcarahC
)stnioP 0( .seitilauq cinoryB on stibihxe retcarahc niam ehT
)stnioP 0( .deyalpsid saw troffe elttil yrev dna gnimrofrep ro/dna gnitirw ni devlovni ylevitca ton erew stneduts tsoM
)stniop 01( .wollof ot tluciffid semit ta saw yrots eht stniop tolp gnisufnoc wef A
)stnioP 01( .laitneuqesnocni dna tnetsisnocni erew sretcarahc wef A
)stnioP 01( .retcarahc niam eht ni nwohs si ytilauq cinoryB 1
)stnioP 01( .gnimrofrep ro/dna gnitirw ni devlovni ton erew stneduts wef A
)stnioP 51( .elbanosaer llits saw yrots eht llarevo tub ,stniop tolp gnisufnoc wef A
)stnioP 02( .seicnetsisnocni wef a dah sretcarahC
)stnioP 02( .retcarahc niam eht ni nwohs seitilauq cinoryB 3-2
)stnioP 02( .ssecorp gnimrofrep dna gnitirw eht ni devlovni ylevitca erew stneduts tsoM
)stnioP 02( .wollof ot ysae dna tnetsisnoc saw yrots ehT
)stnioP 52( .tuohguorht tnetsisnoc dna depoleved erew sretcarahC
)stnioP 03( .retcarahc niam eht ni nwohs seitilauq cinoryB 5-4
)stnioP 52( .ssecorp gnimrofrep dna gnitirw eht ni devlovni ylevitca erew stneduts llA
Byronic Hero Grading Rubric
)stnioP 0( .llarevo esnes elttil edam yrots eht dna stnemele gnisufnoc lareveS
noitapicitraP
seitilauQ
oreH cinoryB
tnempoleveD
retcarahC
ycnetsisnoC yrotS
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DEATH CARDS Cholera
Yellow
Bacterium
Fever
Smallpox
Mercury Poisoning
Measles 91
Endemic Typhus
Famine
Scrub Typhus
DEATH CARDS CONT. Bronchitis
Consumption (Tuberculosis)
Epidemic
Whooping
Typhus
Cough
Lead Poisoning
Chickenpox
Pneumonia
Bubonic Plague 92
DEATH CARDS CONT. Infection
Influenza (Flu)
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Pneumonic Plague
Victorian Deaths CHOLERA BACTERIUM
SMALL POX
SYMPTOMS
INITIAL SYMPTOMS
Dehydration Diarrhea
HOW YOU GET IT Drinking Contaminated water INFECTION
SYMPTOMS Fever Hypothermia (Very low body temperature) Confusion Fast heart rate Trouble breathing Bluish Discoloration on fingers of lips
HOW YOU GET IT Infectious Bacteria entering the body in various ways SCRUB TYPHUS
SYMPTOMS Swollen lymph nodes Weakness Red lesions Cough Rash
HOW YOU GET IT Through chiggers Other infected people through coughing and sneezing
Fever Head and body aches Vomiting
RASH Contagious Sores in the mouth Fluid filled sores covering body
RASH AND SCABS Contagious Bumps become hard Bumps turn to scabs Scabs fall off (Only if body is healing)
HOW YOU GET IT hContact with infectious person Body Fluids Contaminated objects (Bedding/ things they have touched) ENDEMIC TYPHUS
SYMPTOMS Dry cough Nausea and Vomiting Diarrhea
HOW YOU GET IT Through rat and cat fleas Other infected people through coughing and sneezing PNEUMONIC PLAGUE
SYMPTOMS
YELLOW FEVER
Cough with blood
SYMPTOMS (ACUTE PHASE)
Difficulty breathing
Fever Headache Muscle aches (back and knees) Sensitivity to light Nausea and Vomiting Loss of Appetite Dizziness Red eyes, face or tongue
TOXIC PHASE Jaundice (yellowing of eyes and skin) Abdominal pain, Vomiting Blood Decreased urination Bleeding from nose mouth and eyes Slow heart rate Liver and kidney failure Brain dysfunction (Delirium, seizures, and coma)
HOW YOU GET IT Infected Mosquito bite
Nausea and vomiting High fever Headache Weakness
HOW YOU GET IT Infectious droplets MEASLES
SYMPTOMS Fever
Dry Cough Runny Nose Sore Throat Inflamed eyes Red splotches with white spots with bluish white centers
HOW YOU GET IT Other infected people through coughing and sneezing
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Victorian Deaths EPIDEMIC TYPHUS
BRONCHITIS
SYMPTOMS
SYMPTOMS
Headache
Cough
High Fever
Excess discolored Mucus
Rash beginning on back or
Fatigue
chest and spreads
Shortness of breath
Confusion
chills
Little grasp on reality
Chest pain
Low blood pressure
Fever
Sensitivity to lights
Wheezing
Muscle pain
HOW YOU GET IT
HOW YOU GET IT Through tick and lice
Polluted air Virus
Other infected people through coughing and sneezing
FAMINE
SYMPTOMS CONSUMPTION
Extreme weight loss Abnormal blood counts
(TUBERCULOSIS)
fatigue
SYMPTOMS
Dizziness and fainting
Cough that last more than three weeks
Seizures
Coughing up blood
Brittle nails
Chest pain
Swelling
Unintentional weight loss
Hallucinations
Fatigue
Convulsions
Fever
HOW YOU GET IT
Night sweats
Not eating enough
Chills Loss of appetite
CHICKENPOX
HOW YOU GET IT
Fever
Micro particles spread through air Continuous contact with someone infected with Tuberculosis
SYMPTOMS Low appetite Headache Painful pink bumps Fluid filled blisters
PNEUMONIA
SYMPTOMS Chest pain Confusion Cough Fatigue Fever, sweating and shaking chills Lower than normal body temperature Nausea, vomiting, diarrhea Shortness of breath
HOW YOU GET IT Virus or bacteria in the air
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Body aches Bumps can be internal
HOW YOU GET IT Contact with contaminated surfaces LEAD POISONING
SYMPTOMS Lead Poisoning Symptoms Seizure Neurological problems Coma Anemia
HOW YOU GET IT Continuous contact with lead based materials, or the metal itself
Victorian Deaths WHOOPING COUGH
SYMPTOMS Runny nose Congestion Red watery eyes Fever Cough Vomiting Extreme fatigue Breathing difficulty Red or blue face from difficulty breathing
HOW YOU GET IT
Contact with infected person
INFLUENZA
SYMPTOMS Fever Cough Sore throat Runny nose Body aches Headache Chills Fatigue Diarrhea Vomiting
HOW YOU GET IT Infectious Droplets in the air or on surfaces
MERCURY POISONING
BUBONIC PLAGUE
SYMPTOMS
SYMPTOMS
Mood swings
Buboes (Located in the Groin, armpit, or
Numbness
neck)
Memory problems
Size of a chicken egg (Tender and
Physical tremors
warm to the touch)
Anxiety
Fever and Chills
Metallic taste
Headache
Nausea and vomiting
FatigueÂ
Vision changes
Discomfort
Difficulty breathing
Muscle aches
HOW YOU GET IT Old paint
HOW YOU GET IT Infected rodents
Thermometers Industrial processing seafood
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Changing Cultures
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It's Lit! Resources
THE MEANING OF COLOR
In theatre, the color of the lights on stage are helpful in creating the tone of the scene. We as audience members associate different feelings with different colors, and that helps guide the audience through the story, giving clues as to emotions, themes in the scene, and that a scene has changed. We look at colors and tend to associate them subconsciously to an emotion, which can help create a tone for the scene. Keep in mind that some of these are similar colors that you saw in Dear Charlotte.
THE COLOR CHART
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It's Lit! Teacher Guide A white light on its own would be cold and clean and can invoke an intense emotion. Color helps convey the emotion of a scene, giving the audience a more immersive experience. For example, when we look at the color Red what do we see? If this was in a scene what would you feel? What do these colors mean on the chart? Can we effectively change the emotion of a picture when changing color? The colors that the students choose, what does it mean to them?
THE COLOR CHART
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PROJECT RUNWAY PREPARATORY PROGRAM Welcome Designers! YOUR CHALLENGE Your challenge is to create a rendering for an everyday look that is inspired by 1840’s European fashion. Your design choices must be justified and include the use of color, pattern, and historical accuracy to create a costume that communicates a character’s social class, personality, and time period. Rubric For Design Process
WHAT TO DO
HOW/WHERE IN PACKET
Choose a rendering
Renderings in back of packet
Pick a social class and/or
Social Class Chart
occupation
Color Symbolism/ Social Class
2 Personality traits
Page
Color your rendering
Renderings in back of packet
Identify Research Sources
Background of Sources Used
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Design Concepts Rendering: This is the sketch a designer creates before the making of a costume. This is what you will be focused on in your challenge. Since we don’t know the level everyone’s skill set of sketching people we will provide you sketches to color over. Color Theory: Think about your color choices carefully. Each color can represent an specific personality attribute or even represent their rank in the social hierarchy. Hierarchy and Clothing Color: Generally the brighter and richer the color and the MORE wealth one had. The less saturated and neutral the colors as such tan, gray, and black signified being of a poorer class. NOTE: Only occupations of men will be listed in the hierarchy because during this time period they were the only ones allowed to work. If you design for a women character you must create and define her status according to what she was either born or married into.
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WHY THIS MATTERS None of these are hard and fast rules. Your character may not be royal, but may be fond of purple, so you adjust by fading it to make a lighter shade that is closer to a neutral tone. You do have some creative license, but to stray too far otherwise you will confuse your audience. For the challenge, you must justify your choices. In the theatre it’s important to have reasons behind your artistic choices. Costuming is a form of non-verbal communication which is why colors should be purposeful and symbolic. Even if the audience isn’t trained to pick up on color theory they will subconsciously form an opinion of the characters personality and status based on what they wear.
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HISTORY OF FASHION FROM THE 1840's
Background of Sources Used The most of the information in this handout comes straight from the Victoria and Albert Museum in London which focuses on the History of Fashion throughout her reign. The Victorian Age was named after England’s Queen Victoria starting at 19 she ruled from 1837 to 1901 thus the time period is called Victorian Era. Victoria and her husband Albert were the fashion trendsetters of the time. The Kyoto Institute in Japan also has a museum of costumes specifically created for the 1840’s time period, and some of their pieces are featured in here. The Metropolitan Museum is New York City and which is another hub of art and fashion used as reference material in this challenge.
Fun Facts You may have heard of the Met Gala which is hosted at the Metropolitan Museum every year with a specific theme aligned with the featured exhibit inside. Many famous celebrities pair up with successful designers for a fashion filled night to remember! Prince Albert started a trend of men’s clothing being tight at the waist because his was so small! He even started a new trend of coresets for men! When Albert passed away Queen Victoria dressed in black for the rest of her life mourning the loss of her husband. Every day she routinely laid out his clothes, made his tea, and reminisced on his life until hers ended.
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HISTORY OF FASHION FROM THE 1840's Women “1840s fashion is characterized by low and sloping shoulders, a low pointed waist, and bell-shaped skirts that grew increasingly voluminous throughout the decade. Evening dresses were often off the shoulder. Hair was parted in the center with ringlets at the side of the head, or styled with loops around the ears and pulled into a bun at the back of the head. Paisley or crochet shawls were fashionable accessories, as were linen caps with lace frills for indoor wear, and large bonnets for outdoors. Capes with large collars were fashionable.�
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Women’s Garments
Crinoline: Â a stiffened or hooped petticoat worn to make a long skirt stand out; a stiff fabric made of horsehair and cotton or linen thread, typically used for stiffening petticoats or as a lining. Petticoat: or underskirt is an article of clothing, a type of undergarment worn under a skirt or a dress.
Bonnet: Covering one’s head was an essential aspect of etiquette in the 19th century. During the 1840s, women wore caps indoors and bonnets outdoors. The bonnet has wide brim sheltering the face, reflecting the heightened sense of propriety brought in when Queen Victoria ascended the throne in 1837. Shoes: Most shoes were flats, many had similarities to ballet flats.
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HISTORY OF FASHION FROM THE 1840'S Men Very fashionable men sported low, tightly cinched waists, with rounded chests and flared frock-coats that gave them a rather hour-glass figure inspired by Prince Albert. They also wore tight trousers and waistcoats, with high upstanding collars and neckties tied around them. Hair was worn quite long, but swept to the sides. Moustaches and side-burns were popular.
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Men's Garments
Flared Frock Coats: A frock coat is a man's coat characterized by a knee-length skirt (often cut just above the knee) all around the base, popular during the Victorian and Edwardian periods. High waisted Trousers: these high waisted pants were worn frequently for different occasions. They provided figure and wear relatively tight.
Waistcoats: the third piece of men’s formal wear. It is worn over a dress shirt with a neck tie and is underneath a coat.
Shoes: (From the Museum of Fine Arts Boston)”Man’s oxonian shoes. Dark brown grained leather upper; latchets with four eyelets tie over round tongue; separate latchets and tongue joined to vamp and quarters by lapped seam; butted back seam.
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Woman Rendering #1
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Woman Rendering #2
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Woman Rendering #3
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Man Rendering #1
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Man Rendering #2
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Coffee Shop Time Machine Resource Page SCENE WITH EDGAR ALLAN POE & GEORGE ORWELL
(Edgar enters and avoids eye contact with George) Edgar: You waiting in line also? George: Of course I am, I’m standing here aren’t I? Can you even afford to buy coffee here? Edgar: Barely! Ugh! No need to be mean. I just wanted to know how long I had to wait on my Super Black coffee. George: It’s so crowded in here, this place is beginning to remind me of one of the books I’ve written, Animal Farm. Edgar: Oh wow! I love animals, mostly those who are dark. I’ve even written a little something about a Raven- George: Yeah Yeah that’s nice. Hey tell me if you hear them Call “Eric Arthur Blair.” I told them my real name instead of my pen name for some reason. Edgar: Oh yeah ok. I don’t know what my real name is, cause like I was an orphan so like. Yeah it’s whatever (swooshes hair) George: Oh wow, sounds like you live a hard life. With the way this world is going everyone will know hard times by at least 1984… hmmm that’s a good idea for a book. Edgar: Yes I know many hard times, I even married my first cousin because I had no other choice. George: We rarely do these days, and hopefully big brother didn’t hear you say that.
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Faculty and Staff Dr. Robert Shimko, Director of the School of Theatre & Dance Production and Design Area
Kevin Rigdon (Head of Graduate Design) Moores Professor, Scenic and Lighting Design Rachel R. Bush (Head of Stage Management) Assistant Professor, Stage Management
Barbara Niederer Assistant Professor, Costume Technology Kenneth Poston Assistant Professor, Technical Direction Claremarie Verheyen Associate Professor, Makeup and Costume History
Casey Kearns (Head of Undergraduate Production and Design) Assistant Professor, Production and Design Steven W. Wallace Professor, Production and Design Charles Gary Cooper Assistant Professor, Theatre Education Paige A. Willson Associate Professor, Costume Design Jonathan Middents and Technology Associate Professor, Production and Design Playwriting/Dramaturgy
Professional Staff
Dr. Robert Shimko (Program Head) Associate Professor, Playwriting/Dramaturgy
Isaac Davis Department Business Administrator
Theresa Rebeck Lyndall Finley Wortham Chair in the Performing Arts
Lauren Davis Scenic Artist/Properties Supervisor
Dr. Matthieu Chapman Assistant Professor, Performance Studies
Julian Waneck Administrative Coordinator Laura Whittenton Costume Shop Supervisor
Performance Area
Adam Noble (Head of Performance Area) Associate Professor, Acting and Movement Jack Young (Head of M.F.A. Acting) Professor, Acting
Sara Becker Associate Professor, Voice and Shakespeare Carolyn Houston Boone Associate Professor, Acting Jessica Ferrarone (Head of Summer M.A. Program) Assistant Professor, Acting
Jim Johnson Professor, Voice, Speech and Dialects Justin Lucero Cynthia Woods Mitchell Directing Fellow Melissa Noble Instructional Assistant Professor, Movement and Dance Stuart Ostrow Distinguished Professor of Musical Theatre
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Faculty and Staff Dance Program
Karen Strokes (Director of Dance Program) Professor, Dance
Theresa Lynn Chapman Associate Professor, Dance
John Beasant III Assistant Professor, Dance
Rebecca B. Valls Associate Professor, Technical Direction
Adjunct Faculty, Theatre
Adjunct Faculty, Dance
Alan Brinks Shelley Calene-Black Jon L. Egging Heidi Hinkel Elizabeth M. Keel Courtney Young
Lauren Cohen Jeanne Doornbos Jacqueline Anne Nalet Firat Kazbek ĹŒzsoy Leslie Scates Jhon Stronks Sophia L. Torres Toni Valle
Faculty Emeritus
Joanna Friesen Professor Emeritus Dance
Our faculty are professionals who bring an array of experience including nationally and internationally produced work. They are dedicated to educating the next generation of theatre and dance practitioners. Scholars and artists, including Tony-nominated designer Kevin Rigdon, LORT dramaturg Dr. Robert Shimko, and award-winning choreographer Karen Stokes, add to the dynamic supportive environment. In addition, our program is supported by a highly qualified and talented group of graduate assistants from across the United States. For information on the Faculty & Staff at the UH School of Theatre & Dance please visit: http://www.uh.edu/kgmca//theatre-and-dance/about/faculty/
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 School of Theatre & Dance Audition Information Programs in UH School of Theatre & Dance Playwriting/Dramaturgy Theatre Education Technical Theatre Stage Management Acting
Freshman/Transfer Initial Audition/Presentation Dates: November 15 & 16 | North Texas Drama Auditions - Plano November 15-17 | Texas Thespians - Grapevine November 18 | Greater Houston Area Auditions - Houston November 19 | Greater San Antonio Area Auditions - San Antonio February 28 | SETC Auditions- Knoxville, Tennesee June 24-29 | ITS National Fesitval- Lincoln, Nebraska (Juniors)
Required On-Campus Auditions/Portfolio Review Prospective high school senior or transfer theatre students who meet requirements to enter the University are invited to visit our program, audition for a panel of faculty members, and tour the University. Parents/Guardians are welcome to attend. Lunch is provided. REGISTRATION is limited to 40 student participants per day based on advance reservation. This is a fun and exciting day to get acquainted with our faculty, our program and our University. Check School of Theatre & Dance website or email Gary Cooper for more information about audition dates. For more information about audition materials and applications, please visit app.getacceptd..com/houston Gary Cooper, M.Ed Program Head: BFA for Theatre Educators Coordinator of Theatre Ambassadors cgcooper@central.uh.edu
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