Participation 40% A+ A B C D F

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1 Winter Term, January to April, 2017 DRAM 2203:0 Theatre for Children Tuesday and Thursday 1:00pm to 2:15pm Instructor Information Name: Todd Hiscock Office Number: L193 Phone #: Office Hours: 9:30am to 11:30am, daily Textbooks and Readings Required: Let s Make a Circle ( in class hand- out) Pinocchio ( in class hand-out) Fables in class hand-out) Course Goals and Outcomes Goals: Theatre for Children is a studio course aimed at giving practical experience in presenting theatre for young audiences. Students will explore the history, definitions, styles and forms, creation, and the educational value of children s theatre and creative drama. Learning Outcomes: Through design, construction, direction, and performance, students will demonstrate their understanding of the fundamental concepts of Theatre for Children. Students will apply the following skills in the production of a children s play: text analysis, design, casting, directing, acting, and administration. Course Evaluation Summary Element % of course Grade Date Due Design Project 20% End of Term Group Project 20% End of Term Participation 40% Ongoing Persona Project 20% Start mid Term Practicum 5% Ongoing Design Project 20% For the end of term project you will choose an aspect of Theatre for Children that most interests you. Projects can be in the form of an acted scene, costume design, set design, prop design, written script, a song etc. You will be responsible to work on your project outside of class time, and be prepared to present your work at our last class. Group Project 20% Students will be placed into groups and given a scene from Fables, a play by Colleen Neuman. Each group will be responsible for the production of their fable. The group will design, direct, and act in the play. A performance of Fables will take place at a local elementary school at the end of term. Participation 40% A+ A B C D F - actively supports, engages, and listens to peers (ongoing) -arrives fully prepared for every session -plays an active role in discussions -actively supports, engages, and listens to peers(ongoing) -arrives fully prepared at almost every session -plays an active role in discussions (ongoing) -makes a sincere effort to interact with peers(ongoing) - arrives mostly, if not fully, prepared (ongoing) -participates constructively (adding to the discussion not just agreeing with what -limited Interaction with peers -preparation and Participation are bothinconsistent -whenprepared, participates constructively in discussions and -virtually no interaction with peers -rarely prepared -rarely Participates -comments are Generally vague and not drawn from -no interaction with peers -never Prepared -never Participates -demonstrates a noticeable lack of interest

2 (ongoing) -comments advance the level and depth of the dialogue (consistently) -group dynamic consistently better because of the student s presence -comments often advance the level and depth of the dialogue -group dynamic often better because of the student s presence others say) in discussions(ongoin g) -makes relative comments based on the assigned material (ongoing) - group dynamic occasionally better (never worse) because of the student s presence makes relevant comments based on assigned material -group dynamic and level ofdiscussion are not affected (negatively or positively) by the student s presence theassigned material -sometimes demonstrates a noticeable lack of interest - group dynamic affected negatively by the student s presence in the material -student s presence has a significant negative impact on group dynamic discussion Persona Project 20% Each student is assigned a character from the play Pinocchio and is to participate in a discussion from the point of view of the persona assigned. Students are expected to adopt the point of view of the character but not required to enact a role. Practicum 5% Practical Work Hours in Boardmore Productions (up to 5% bonus to final grade) All CBU Drama students have the opportunity to improve their grades by volunteering to assist in Boardmore Theatre productions. These work hours will occur outside of class; you will need to coordinate with the Boardmore s directors and/or designers to find time that suits you. For every 1 hour you commit to a production, you will earn 1% bonus on your final grade, up to a maximum bonus of 5%. Each time you work 1 hour, you will require a signature from the production s director or stage manager. Present the completed signature sheet to your instructor on the last day of classes to qualify for your bonus marks. A variety of tasks can qualify as work hours, including (but not limited to): set construction, set painting, props hunting, props construction, costume construction, rigging, running crew, acting, directing and understudy. You cannot put the same work hours towards more than one Drama course. Any attempt to do so will result in having all your work hour bonus marks annulled. Note that productions may have a limited number of volunteer positions. If you plan to participate, speak with your instructor early in the term, and s/he will put you in touch with this season s directors and/or designers. Accommodating students Students requiring special accommodation should inform the instructor at the beginning of the course. Student Use of Technological Devices in the Classroom Students are asked to turn off all technological devices before entering the classroom, and to refrain from using these devices during class time. Inclement Weather Policy Refer to CBU s Inclement Weather Policy (see Class Cancellation and Make up Assignments/Tests In the event of a class cancellation, special arrangements, including, but not limited to, making up class sessions, will be made to ensure the curriculum is adequately covered to the Dean s satisfaction. In addition to informing the Dean s office, faculty will leave a message on their voic regarding class cancellation.

3 Fundamental questions associated with the development of children s theatre. -What, exactly, is meant by young children? -Behaviour as an audience member can we teach this? Audience participation that is planned, intended, constructive, controlled, purposeful and integrated within the play. -A play that is well done? The kind of integrity of writing and sincerity of directing and acting that removes children s theatre from the notion that almost anything will do for kids, as long as they can shriek with laughter and generally raise the roof. -In the right environment? Shape of playing area, use of space, etc. is important in theatre for children. We don t often have an ideal space. -Providing circumstances permit? Barriers to successful theatre for children arise from the wrong attitude to either children or theatre or to both. We must approach audience participation as a natural vocal and physical expression of the heart, mind, and spirit. Observations through the peep hole. -The deepest and most sustained interest came from those sitting closest to the stage. -The interaction of older age groups to younger age groups was most marked. -Much of the excitement before the start of performance was due to the journey to the theatre. -Age range too wide and numbers too large -Continuous babble of chatter from audience trying to keep his friend caught up on the action of the play. -Talking directly to the actors giving them helpful hints about what was going to happen to them or watch out behind you. The main concerns fundamental to serious children s theatre and audience participation. -Form and shape of presentation theatre environment, use of scenery, lighting, costumes, properties, media, music, etc. -Content subject matter of plays. -Age groups and the development made possible by being able to have some control over the age groups attending children s theatre. -Size of the audience, and the potential developments that are opened up for the work itself when the size of the audience can be controlled.

4 -Audience participation with family audiences in large proscenium spaces to the potential developments when age groups and size of audiences are controlled in open stage theatre spaces. Some things we will consider. -participatory vs. non-participatory -The play - should be intended for participation -The stage proscenium vs. open stage -Open staging: avenue/arena staging, half arena staging, theatre in the round, exits and entrances, seating the audience. -Use of aisles and the auditorium. Opening a play with characters giving things away to the audiences, establishing an open relationship with your audience before the text of the play begins. -Chases stay in character with total sincerity/physical control/ pacing and timing. -Journeys how do we create the sense of a journey? Film vs. Theatre. Use of children s imagination create the actual terrain through dialogue. -Processions at the beginning and end of the play -Spontaneous participation look out behind you. -Stimulated participation the lead is given by the actor, Oh, if only we had some wind and waves. -Directed participation direct statement to the audience by the actor, please everyone, help us with the wind and the waves. -The magic of theatre scenery. Lighting, costume, properties, sound, etc. -Age groups and audience size -dividing the age groups -is there an ideal size of audience? -is there an ideal size playing area? -The actor in children s theatre -concentration -awareness -vocal and physical control -imagination -sensitivity to other actors -capacity to sustain -trust in personal intuition -How do you act for children?

5 The same as adults, only better. (Constantin Stanislavski) -Original material play- building and play -making.

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