Turing?

LESSON 1: DANCE-THEATRE, STORYTELLING, AND WHO IS ALAN TURING? LESSON AT A GLANCE

LESSON OBJECTIVE: The following lessons will introduce students to dance theatre and build an understanding of the elements of dance, including interactive exercises for students to explore dance theatre techniques. Students will be introduced to Invertigo Dance Theatre’s artistic vision and the story -- and the man -- behind the show at the center of this curriculum: Formulae and Fairy Tales.

DURATION: 120 minutes

MATERIALS: Internet to view Invertigo Dance Company Videos. Students should have a journal or section of a notebook for their “Formulae & Fairy Tales Field Notes.” Print-outs of the following handouts, Handout 1: Hi, I’m Alan Turing!, Handout 2: Elements of Dance- BASTE, Handout 3: What is Dance Theatre?, Handout 4: Socratic Seminar Rules

JOURNALS: Every lesson will include a journal component called Formulae & Fairy Tales Field Notes. Students will each need a journal to take notes, plan scenes, and respond to prompts, videos, and articles. We encourage students to gather ideas and observations as part of their field research on dance theatre as seen through Invertigo and the upcoming show Formulae & Fairy Tales.

STANDARDS: National Core Arts Standards, Theatre, Grades 9-12: CREATING—Anchor Standard 3: Refine and complete artistic work. National Core Arts Standards, Theatre, Grades 9-12: PERFORMING—Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. National Core Arts Standards, Theatre, Grades 9-12: CREATING—Anchor Standard 1: Generate and conceptualize artistic ideas and work. National Core Arts Standards, Dance, Grades 9-12: RESPONDING—Anchor Standard 7: Perceive and analyze artistic work. CCSS.ELA-LITERACY.SL.9-10.1: Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. CCSS.ELA-LITERACY.SL.9-10.1.A: Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

CONCEPTS/VOCABULARY Artificial Intelligence - the theory and development of computer systems able to perform tasks that normally require human intelligence, such as visual perception, speech recognition, decision-making, and translation between languages. Conflict - a struggle between opposing forces or characters; conflict is known to be a driving force in the drama of stories, theatre and dance. It has been said that without conflict, a story would have not point. Costume - an actor’s stage clothing. Chant - singing or speaking that repeats itself. Choreography - the art or practice of designing and creating movement sequences for a dance or scene in theatre; the physicality of bodies, space and sometimes props and sets are used to create a choreographic composition; motion and form are specified through notation.

LESSON AT A GLANCE, CONT’D

Cryptography - the art of writing or solving codes; a method of protecting information and communications through the use of codes so that only those for whom the information is intended can read and process it. The pre-fix “crypt” means “hidden” or “vault” and the suffix “graphy” stands for “writing.” Cue - a signal; in theatre and dance a cue is the trigger for an action to be carried out at a specific time which can include a lighting change, a sound effect, or a movement in the set or props, and of course, a shift or change between bodies, characters, or dialogue. Dance - All dance — whether it is about a story, a culture, a specific style, a feeling, or movement for movement’s sake — involves a body in motion. All styles of dance communicate using the basic elements of time, space, and shape. Dance Theatre - The most universal definition that the term Tanztheater (“dance theater”) brings to mind is: the union of genuine dance and theatrical methods of stage performance, creating a new, unique dance form (especially in Germany), which, in contrast to classical ballet, distinguishes itself through an intended reference to reality. German choreographer Pina Bausch established this artform in 1975. Dialogue - a literary or theatre technique in which two or more characters or people engage in conversation, exchange of ideas, debate, feelings or action. Elements of drama - plot, character, theme, dialogue, music, and spectacle, according to Aristotle. Freeze - stopping all movement; to create a stilled physical position or gesture in theatre and dance. Fourth Wall - the space which separates a performer or performance from an audience; the conceptual barrier between any fictional work and its viewers or readers. Genre - a category of artistic, musical, or literary composition characterized by a particular style, form, or content, examples: epic poetry, symphonic music, and dance-theatre! Morphogenesis - the biological process that causes an organism to develop its shape. It is one of three fundamental aspects of developmental biology along with the control of cell growth and the formation and differentiation of tissues and organs, unified in evolutionary developmental biology. Plot - the structure of the action of a play. Script - the written dialogue, description, and directions provided by the playwright. Setting - the time and place in which the dramatic action occurs. Shape - using the body, space, movement, or objects to create patterns, lines, and composition. Space- the available, unlimited, or incalculably great three-dimensional realm or expanse in which all material objects are located and all events occur; the locations occupied by the body; for example, low, middle, and high levels or negative and positive space. Theatre - Theatre can take many forms — everything from a Shakespearean drama staged before an audience of thousands to a group improvisation in an elementary school classroom. All forms of theatre, however, include three essential elements: an actor, a story with a conflict, and an audience. Time - the cadence or meter that determines the motion, which can be slow, medium, or fast. Transition - the passage among ideas, places, thoughts, and stage. Turing Test - A test for intelligence in a computer, requiring that a human being should be unable to distinguish the machine from another human being by using the replies to questions put to both.

GUIDING QUESTIONS What is the value in telling a story through movement in dance? What is a story you would like to tell? How do we tell stories with our bodies in the day to day? How can we use the elements of dance to tell a story? What is the significance of the storyline of Formulae and Fairy Tales?

LESSON AT A GLANCE, CONT’D

Note to Teachers

This curriculum engages concepts of dance theatre as a genre at large as well as powerful traditions such as Theatre of the Oppressed. Invertigo’s specific methodology, Storytelling Through Movement, will be offered as a through line in the “Mini Lessons” section of each of the four lessons. The sequence of information and exercises offered in the Mini Lessons, along with the other components of the curriculum will provide a foundation of techniques for you and the students to build upon and expand from as the lessons progress.

A number of strategies will be used to teach storytelling through movement -- the tableaux, known as the living picture, will be a primary recurring technique. Tableaux is a theatre activity which enables people to tell a story through physicality and gestures. Often a specific theme, subject or prompt is explored in the tableaux and people use their bodies to create a frozen --yet seemingly moving -- image. It’s as if a person has taken a picture of a collective moment in the making. Tableaux are most powerful when students are able to maintain strong, emotional facial expressions and when students are able to remain perfectly still. The goal is to have students create a scene with a group of people making symbolic gestures that interlock and tell a larger story about the theme being explored. This calls upon the group to work as an ensemble -- the tableaux is a call to action to be responsive and attentive to how each part connects to create something larger.

Often we will ask that 1-2 students work as the “sculptors” of the tableaux. You can identify students as the sculptors from the start, and they work to curate the image, adjusting and moving people to strengthen the story. The other option is to have all of the students in the tableaux -- they each step in adding themselves to the collective one or two at a time so the image builds. Then once the image is complete, you can ask a student to step out, review the image from all sides, and then make edits to further curate the tableaux. It’s most effective to have the sculptors adjust people without using words. They can find simple ways to gesture to students to move to a new place and gently adjust people’s arms or head so the image becomes sharper, more dramatic.

We will also sometimes ask that the class be broken up into 2-3 groups with each group creating their own tableaux. After, you can do a kind of class review where each group presents their tableaux and the rest of the class reviews and discusses what they see in the tableaux. After that, have the students in the tableaux -- and the sculptors -- say what they were intending or shooting for in curating their tableaux. When there are social or cultural themes in the tableaux the discussion can be quite expansive and revealing. Leave enough discussion time to allow the conversation to unfold. ALSO: we highly recommend taking photos of each tableaux your class creates. (And psst...we’d love to see any of these if you are moved to send them on to us!).

LESSON PLAN

In this lesson students will be introduced to Alan Turing and Invertigo’s performance, Formulae and Fairy Tales, within the larger lesson of the dance theatre genre. Students will begin building an understanding of the elements of dance, including exercises for students to explore dance theater techniques and start creating their own practice of storytelling through movement.

Warm-Up: Meet Alan Turing

Read Handout 1: Hi, I’m Alan Turing! as a class. Then, watch a scene from Formulae & Fairy Tales which introduces Alan Turing through a monologue.

Morphogenesis, Monologue, Playground: (cue 6:12 - 9:50 for Monologue, and continue playing the clip to the end for the Playground scene; if you are short on time play a couple of minutes for context)

https://vimeo.com/315718736 Password: steve

If you watch to the end of the scene, mention to the students The Turing Test named after Alan Turing. Review the definition: Turing Test- a test for intelligence in a computer, requiring that a human being should be unable to distinguish the machine from another human being by using the replies to questions put to both.

THINK, PAIR, SHARE: Students will find a partner in the room. They will choose who is A and who is B. Start to call out the questions, have A ask B and give time for B to answer. • What do you know about Alan Turing? • What do you find interesting about his life? • In the monologue, did you see a thought process in motion? Describe what you saw. • What did you make of the dancer’s hand gestures? • Why do you think Turing was so intrigued by Snow White? • What do you think the playground scene is showing? What stories are being told and what feelings are evoked in this scene? • Did the playground scene remind you of being on a playground when you were a kid? How so? • What do you think of the Turing Test moment and an audience member being brought on stage?

Next, have students continue to be A and B as they were previously assigned. Have only the A’s move (B’s should stay put) and find a new B to partner up with. Now B’s will ask A’s the same questions. (Again, read the questions out one by one, giving time for discussion.)

Mini Lesson: An Introduction to Storytelling Through Movement

This mini lesson will introduce students to “Storytelling Through Movement,” one of the core methodologies of Artistic Director, Laura Karlin in teaching and creating dance theatre. A video and interactive exercise allows students to learn about these ideas in an embodied way.

Watch Invertigo Curriculum Video, Part 1: Storytelling Through Movement as a class.

After watching the curriculum video, engage students with the movement activity called, Cross the Room. Cross The Room is an exercise that allows students to use movement as a way to express who they are, what they identify with, and to discover what they have in common. This is the first of a series of curricular components where we invite students to be aware of and learn to cultivate the ways we tell stories about ourselves and our lives through movement.

The first part of the exercise is a warm-up with a series of statements that invite the students to cross the room. The main part of the exercise uses a dance methodology called the Elements of Dance or BASTE -- Body, Action, Space, Time, and Energy.

As you call out the movement instructions, tell students to consider these items: • Use your body to express your response to each item and how you feel about it • Make eye contact and engage with each other as you pass each other in crossing the room • Move as regular pedestrians sometimes, and at other moments utilize the elements of dance.

1) Cross the Room: Warm Up!

Split the class in half, two lines facing each other. Say the following phrases and then come up with your own -- they don’t all need to be dance related. You could start out with “cross the room if you like ice cream” or incorporate elements from what you teach them day to day or

Instructions for Crossing:

“Cross the room if you are able to dab” “Cross the room if you have taken a dance class before” “Cross the room if you are always on the dance floor at a social event” “Cross the room if you are familiar with dance theatre” “Cross the room if you’ve ever seen Michael Jackson’s, Thriller video” “Cross the room if you tell stories with how you move through the world” “Cross the room if……”

Then, you will introduce the elements of dance by having students experience them in the following BASTE activity:

Body: Have the students cross the room as if…

“…they have injured their right ankle. “….”as if their knees don’t bend “…” as if they are being pulled by a string at the end of their nose from across the room. Action: Have the students cross the room as if…

They are very pleased with everyone they encounter They have seen someone before but cannot remember where They are reaching for something they really want at the other end of the room Space:

Have the students fill up the space evenly when you call stop Have the students walk in a grid (only 90*angles) Have students choose one person to mirror and continue to walk on a grid Have students mirror one person, walk on a grid and continue to fill up the space on the floor evenly

Time:

Walk the space with a steady beat. Instructor will call out “one two three four five six seven eight” in a steady rhythm Walk through the space as slowly as you can while still moving through space Walk around the space as if you are in a hurry and you need to get to something important Energy:

Walk around the space as if you are as light as a feather Walk around the space as if you are being held down by something (this could be physical or a heavy emotion) Walk around the space with erratic emotion and jerking in every direction.

OPTIONAL POST-EXERCISE REFLECTION Have students pair up and discuss the following prompt: What did you notice about using your body rather than your voice to express your answers to questions. Out of Body, Action, Space, Time, Energy -- what did you enjoy the most & why?

Then, ask students to get with a new partner and discuss the following prompt: What is a dance performance or video you’ve seen that tells a good story. How do the dancers use their bodies and space to tell a story? Describe to each other and share what you enjoyed and why.

MAIN LESSON: Introducing Alan Turing & the formulae of Invertigo’s Storytelling

PART 1: Learn the Elements of Dance Theatre

DEFINE: Before watching the next scene from Formulae & Fairy Tales, tell students they will see a dance scene entitled “Morphogenesis,” named after a biological process which Alan Turing was deeply fascinated by. Go over the definition of Morphogenesis as a class: the biological process that causes an organism to develop its shape. It is one of three fundamental aspects of developmental biology along with the control of cell growth and the formation and differentiation of tissues and organs, unified in evolutionary developmental biology.

Now that you have introduced BASTE to the students through movement, we’ll do an exercise to build their awareness of dance-theatre by watching, reflecting on, and discussing a dance video. The idea is to do this in two parts to help them build their abiliy to see and understand dance-theatre first from their own lens, and then through BASTE. Please read below before starting the video as we’re asking you to watch, pause, discuss and then watch, pause, discuss.

First, watch a scene from Formulae & Fairy Tales titled, “Morphogenesis, Monologue, Playground.”

https://vimeo.com/315718736 (watch from the beginning to 6:43) Password: steve

Next, have students answer the questions on Handout 2: Elements of Dance- BASTE, drawing from the video and from their experience doing movement based on BASTE in the Cross the Room activity.

10 Next, read Handout 3: What is Dance Theatre?, an article from Dance Magazine. The text from the article is included in the handout, but follow this link to view different Dance Theatre excerpts. THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

Start the video and watch for 2-3 minutes. Then pause and ask the students what they saw. Perhaps put some examples on the board of what you saw, maybe descriptors like: flowy, jagged, spirals, air lifts, flying, etc. The point is to get them to describe to identify the qualities of the movement, the patterns and shapes, the overall feel or even meaning of the dance-theatre scene. They can use adjectives, metaphors, phrases, stories -- whatever works for them to show what they saw.

Watch the rest of the scene -- up until 6:50. Now, you will guide the students in learning to see dance through BASTE. Have them reflect on what they noticed for each part of BASTE -- Body, Action, Space, Time, Energy -- in the prompts below. If they are struggling with it, invite them to think back on the exercise of Cross the Room where they learned BASTE through their own movement choices.

Formulae & Fairy Tales Field Notes, Journal Entry #1: In your Formulae and Fairy Tales Field Notes Journal, respond to the following prompt: Imagine that you are describing what dance theatre is to another student who has never heard of it, write a description of the genre in your own words.

PART 2: Creative Process through The Socratic Seminar

Task: Students will engage in a Socratic Seminar to demonstrate their understanding of the content explored in this Lesson including: Alan Turing’s life, the Elements of Dance (BASTE), dance theatre and themes in Formulae and Fairy Tales.

First, have each student generate at least five open-ended questions for Formulae & Fairy Tales Field Notes, Journal Entry #2 on the following topics below. Give them an example of an open-ended question. • Alan Turing • BASTE • Dance Theatre • Formulae and Fairy Tales

Next, you will create a Socratic Seminar in response to the questions that the students came up with.

The following is a brief description of Socratic Seminar for those who find it useful. Have students move their chairs (or chair desks) into two circles; one in the center and one directly behind. Count the students off into two groups based on the number of students you have. For example; if you have 30 students, count them off by 15. Both 1’s are a pair, 2’s are a pair, etc. Have each pair discuss the questions that they came up with. Call on each group to contribute an open-ended question. Write them down- you will use them during the Socratic Seminar.

Explain the Socratic Seminar to students using Handout 4: Socratic Seminar Rules, and introduce to the students the rules of Socratic Seminars. Explain that the seminar is only interesting if there is no one person dominating the circle, if everyone contributes and that questions are open-ended.

Time the Socratic Seminar: each group gets 15 minutes to speak. The teacher is only a facilitator and poses the open-ended questions that the students came up with. In addition, try to make sure that students are not speaking too long and that each student has contributed. If the questions die down, you can pause and have them discuss a question with their partners and resume the seminar.

Assessment Criteria: • Students listen closely and speak to the group. • Students ask for clarification. • Students invite, allow, and consider all viewpoints.

Purpose: To have an introduction to Alan Turing’s life, the Elements of Dance (BASTE), dance theatre and Formulae and Fairy Tales.

Reflection: Formulae & Fairy Tales Field Notes, Journal Entry #3

Students will write in their FFT journal to reflect on their experiences in the exercises and lessons of today. Invite them to share their observations, feelings and ideas and ask them to write about at least two questions in each of the sections below:

Morphogenesis:

In the last video, what shapes did you see the dancers making in space? What did you think was happening in this scene? What did you see? How do you think the biological term Morphogenesis was tied into this scene? Why do you think the dancers mark out space with the tape? What happens with the space? How do you think bodies and movement show the human mind?

Turing Monologue:

In the Alan Turing monologue, why do you think the dancer mentions the fourth wall and restarts the story over and over? What symbolism was created with gestures of numbers? Why are numbers mysterious? In what ways can a computer think like a human being? In what ways can it not? Why do you think truth, lies, story and fairy tales were important to Alan Turing?

Overall:

How do you think movement can tell a story in a way that language can’t? What is your overall impression of the performance your class will see? What kind of storyline do you think the performance will create based on what you know about Alan Turing so far?