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Heroes ADA 1O: Grade 9 Dramatic Arts, Open Unit Overview Context: This unit explores the archetypal character of the hero and the importance of hero stories in various cultures and time periods. Hero stories are used as the vehicle for creating dramatic work and for discussing the role of the hero in history, current events, and art forms such as theatre. This unit would be appropriate at the mid-point of the course, after students have gained some familiarity with dramatic elements and conventions and are moving in to original scene work. This unit would could be a springboard for a more in-depth exploration of theatre history, such as Greek Theatre. Summary: In this unit, students learn the role of the hero by telling the stories of heroes from various cultures and time periods using dramatic conventions such as tableau, role play and scene work. Students explore the story of the historical hero Joan of Arc using a variety of dramatic conventions such as objects of character, improvised simulations and writing in role. Finally, students synthesize their learning about heroes through the final summative task, a presentation of an original hero story. Expectations A1. The Creative Process: use the creative process and a variety of sources and forms, both individually and collaboratively, to design and develop drama works; A2. Elements and Conventions: use the elements and conventions of drama effectively in creating individual and ensemble drama works, including works based on a variety of global sources; A3. Presentation Techniques and Technologies: use a variety of presentation techniques and technological tools to enhance the impact of drama works and communicate for specific audiences and purposes. B1. Critical Analysis Process: use the critical analysis process to reflect on and evaluate their own and others’ drama works and activities; B2. Drama and Society: demonstrate an understanding of how societies present and past use or have used drama, and of how creating and viewing drama can benefit individuals, groups, and communities; C1. Concepts and Terminology: demonstrate an understanding of the nature and function of drama forms, elements, conventions, and techniques, including the correct terminology for the various components; C2. Contexts and Influences: demonstrate an understanding of the origins and development of drama and theatre arts and their influence on past and present societies; C3. Responsible Practices: demonstrate an understanding of safe, ethical, and responsible personal and interpersonal practices in drama activities. Unit Guiding Questions What is a hero? Why are hero stories told in various art forms, such as theatre? What are hero stories important to people from various cultures and time periods? How has our concept of the hero changed over time? Are certain types of heroes privileged in society, while others are ignored or devalued? Do heroes exist today? What can we learn from hero stories? Lesson Guiding Questions Lesson 1 - Heroes in History What makes a hero? What is the role of the hero? Why do people from various cultures and time periods tell hero stories in theatre and other forms of art? Lesson 2 - Museum of Heroes What examples of heroes are there in history, literature, theatre and other art forms? Whose hero stories are lesser known? Why are these stories sometimes ignored? Lesson 3 – The Story of Joan of Arc: Warrior, Heroine, Martyr In what ways can Joan of Arc be seen as a hero? In what ways was Joan an unlikely hero? Lesson 4 – The Fate of Joan of Arc How has history treated Joan of Arc? Does Joan fit the definition of a hero? What type of hero is she? Lesson 5 - Final Summative Evaluation: What is a Hero? Where do we find heroes in everyday life? How can we use the concept of the hero to create drama? © Council of Ontario Drama and Dance Educators Created with funding provided by the Ontario Ministry of Education.

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HeroesADA 1O: Grade 9 Dramatic Arts, OpenUnit OverviewContext:This unit explores the archetypal character of the hero andthe importance of hero stories in various cultures and timeperiods. Hero stories are used as the vehicle for creatingdramatic work and for discussing the role of the hero inhistory, current events, and art forms such as theatre. Thisunit would be appropriate at the mid-point of the course, afterstudents have gained some familiarity with dramatic elementsand conventions and are moving in to original scene work.This unit would could be a springboard for a more in-depthexploration of theatre history, such as Greek Theatre.

Summary:In this unit, students learn the role of the hero by telling thestories of heroes from various cultures and time periods usingdramatic conventions such as tableau, role play and scenework. Students explore the story of the historical hero Joanof Arc using a variety of dramatic conventions such as objectsof character, improvised simulations and writing in role.Finally, students synthesize their learning about heroesthrough the final summative task, a presentation of an originalhero story.

ExpectationsA1. The Creative Process: use the creative process and avariety of sources and forms, both individually andcollaboratively, to design and develop drama works;

A2. Elements and Conventions: use the elements andconventions of drama effectively in creating individual andensemble drama works, including works based on a variety ofglobal sources;

A3. Presentation Techniques and Technologies: use avariety of presentation techniques and technological tools toenhance the impact of drama works and communicate forspecific audiences and purposes.

B1. Critical Analysis Process: use the critical analysisprocess to reflect on and evaluate their own and others’drama works and activities;

B2. Drama and Society: demonstrate an understanding ofhow societies present and past use or have used drama, andof how creating and viewing drama can benefit individuals,groups, and communities;

C1. Concepts and Terminology: demonstrate anunderstanding of the nature and function of drama forms,elements, conventions, and techniques, including the correctterminology for the various components;

C2. Contexts and Influences: demonstrate anunderstanding of the origins and development of drama andtheatre arts and their influence on past and present societies;

C3. Responsible Practices: demonstrate an understandingof safe, ethical, and responsible personal and interpersonalpractices in drama activities.

Unit Guiding QuestionsWhat is a hero?Why are hero stories told in various art forms, such astheatre?What are hero stories important to people from variouscultures and time periods?How has our concept of the hero changed over time?Are certain types of heroes privileged in society, while othersare ignored or devalued?Do heroes exist today?What can we learn from hero stories?

Lesson Guiding QuestionsLesson 1 - Heroes in HistoryWhat makes a hero? What is the role of the hero?Why do people from various cultures and time periods tellhero stories in theatre and other forms of art?

Lesson 2 - Museum of HeroesWhat examples of heroes are there in history, literature,theatre and other art forms?Whose hero stories are lesser known? Why are these storiessometimes ignored?

Lesson 3 – The Story of Joan of Arc: Warrior, Heroine,MartyrIn what ways can Joan of Arc be seen as a hero?In what ways was Joan an unlikely hero?

Lesson 4 – The Fate of Joan of ArcHow has history treated Joan of Arc?Does Joan fit the definition of a hero? What type of hero isshe?

Lesson 5 -Final Summative Evaluation: What is a Hero?Where do we find heroes in everyday life?How can we use the concept of the hero to create drama?

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Assessment and Evaluation: How will students demonstrate their learning?Assessmentof learning

Culminating Performance Activity1. Students will be evaluated during the rehearsal process using the Teacher Observation Checklist2. Students will be evaluated for their performance work using the Final Summative Task Rubric3. Students will be evaluated for their final Post-Performance Reflection4. (optional) Students may be evaluated for their writing in role as Joan of Arc in Lesson 4

Assessmentfor Learning

Check Point #1/Lesson 1Hero Crest Graphic Organizer

Check Point #2/Lesson 2Museum of Heroes Exit CardWriting in Role

Check Point #3/Lesson 3Spectrum of Difference reflection activity

Check Point #4/Lesson 4Class Discussion/DebriefWritten Reflection

Unit Lessons: How will assessment and instruction be organized forlearning?

Approx.Duration 1class= 75minutes

Lesson 1 Lesson 1 - Heroes in History 2 classes

Lesson 2 Lesson 2 - Museum of Heroes 1 class

Lesson 3 Lesson 3 – The Story of Joan of Arc: Warrior, Heroine, Martyr 2 classes

Lesson 4 Lesson 4 – The Fate of Joan of Arc 2 classes

Lesson 5 Lesson 5 - Final Summative Evaluation: What is a Hero? 3-5 classes

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 1: Heroes in HistoryCritical Learning Guiding QuestionsIn this lesson students learn about various types of heroes (such as tragic hero,superhero, folk hero) and explain the role of the hero throughout history. Studentsuse role play and tableau to dramatize the stories of heroes from various timeperiods and cultures and examine reasons why audiences are drawn to herostories in theatre and other art forms.

What is a a hero?What are the different types of heroes?What makes a hero? What is the role ofthe hero?Where do we see heroes represented inhistory? Theatre? Popular culture?What examples exist of heroes indifferent cultures and time periods?Why are we drawn to hero stories?Why do people from various cultures tellhero stories in theatre and other forms ofart?

Curriculum Expectations Learning GoalsA1.1 use a variety of print and non-print global sources to generate and focusideas for drama activities and presentations

A1.3 use role play to explore, develop, and represent themes, ideas, characters,feelings, and beliefs in producing drama works

A2.1 use the elements of drama to suit an identified purpose and form in dramapresentations

A3.2 use a variety of expressive voice and movement techniques to support thedepiction of character

B2.1 identify and explain the various purposes that drama serves or has served indiverse communities and cultures from the past and present

C1.2 use correct terminology to refer to the forms, elements, conventions, andtechniques of drama

At the end of this lesson, students will beable to

• define and explain the term heroand the role of the hero in stories

• explain the different types ofheroes (e.g. tragic hero, folk hero)and provide examples

• assume the role of a specific heroand speak and respond in role

Instructional ComponentsReadinessStudents should have some familiarity with role playing, hot-seating and tableauwork. Students should be familiar with class norms such as trust, mutual respect,discussion etiquette and proper audience behaviour.

TerminologyHero/HeroineTypes of Heroes (see BLM for full list)TableauxFrozen SculptureWord WallHot-SeatingThought-Tracking

MaterialsChart paper and markersSticky NotesPictures of Statues and Monuments ofHeroes from history (e.g. National WarMemorial, Vimy Ridge, etc.)Library/Research FacilitiesHero Crest Graphic Organizer

BLMS:#1 Types of Heroes#2 Examples of Heroes List#3 Hero Crest Graphic Organizer

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 1: Heroes in HistoryApproximately 20 minutesMinds On Pause and Ponder

Whole Class > Individual > Frozen Statues > Thought-TrackingPost pictures or photographs around the classroom of a variety of statues andmonuments depicting heroes from history. Students walk around the room examiningthe pictures. Instruct students to approach one picture that appeals to them.

Instruct students to assume the physical pose of the person in the picture. They shouldconsider body posture and facial expression when creating their own frozen statues.Remind them to focus on concentration and give a cue such as a clap to signal whenthey should freeze.

Students consider the personality and qualities of the person they are assuming. Whatis he or she like? How does he or she speak or think? What does this person think ofhim or herself?

Walk around the classroom and thought-track the statues by tapping them on theshoulder or snapping your fingers. When cued, students should speak one of thethoughts of this character, telling us something about that person.

Whole Class > DiscussionAfter they have left their frozen statues, students discuss the activity. You may wish tohave one or two volunteers re-create their poses for the class to look at and discuss indetail.

Key Questions for Discussion:Who are the people depicted in these pictures? What do they have in common?How would you define the term hero? What makes someone heroic? Why do wehonour heroes in monuments, ceremonies, etc?What qualities of the hero are depicted in these pictures? How were these qualitiesreflected in your frozen statues? How were these qualities reflected in what you saidduring the thought-tracking exercise?

Approximately 60 minutes(or more if research is conducted in class)

Action!

Whole Class > Mind MapDistribute different coloured sticky notes to the class so each student has one stickynote of each colour. Write the word hero on the blackboard or on a sticky note postedon the wall. Ask students to brainstorm different aspects of heroes on their sticky notesand post to the wall to form a mind map. You may wish to distribute the handout BLM#1 Types of Heroes and discuss this with students first, or present them after theyhave brainstormed their words.

For Example:Blue Sticky Notes: Qualities of the HeroGreen Sticky Notes: Types of HeroesYellow Sticky Notes: Examples of Heroes

When students have finished posting their sticky notes, debrief the informationgenerated. Make connections to previous hero stories discussed in class or to theatrehistory links such as Commedia Dell"arte, Greek Theatre or Shakespeare (e.g. thetragic hero in Oedipux Rex or Macbeth).

Small Group > TableauxForm students into small groups of 4-5. Each group approaches the mind map andselects a specific hero with whom they are familiar (e.g. Superman, Nelson Mandela).Ask them to dramatize what they know about the story of this hero in 3-4 tableaux forthe rest of the class and give them time to rehearse their presentations. You may wishto keep research information on hand regarding some well-known heroes to helpstudents with their dramatizations.

Present tableaux presentations to the rest of the class. Students comment on thestories they depicted and explain how the character depicted in the story could beconsidered heroic using the qualities brainstormed in the mind map exercise.

Assessment for Learning (AfL)Use the discussion about heroesand the mind map activity to accessstudents' prior knowledge of heroesand hero stories.

Assessment as Learning (AaL)By using the Hero Crest GraphicOrganizer (BLM #3), students cansolidify and track their learning aboutheroes for reference in futurelessons. Collect crests and giveformative feedback to students ontheir observations and researchfindings.

Differentiation (DI)Use a variety of grouping strategies(numbering off, pulling names out ofa hat) to ensure students get to workwith a variety of people. Considerpartnering students if needed. In thefrozen statue exercise, you maywish to invite students to close theireyes while forming their statues tomake them feel more comfortable.

Quick TipAs an alternative to library or onlineresearch, collect and assembleresearch materials on a few pre-selected hero examples anddistribute materials to students fortheir research.

Link and LayerConsider incorporating theatrehistory links in to this lesson. Youmay wish to give further informationon depictions of heroes from avariety of theatre styles, such asGreek Theatre, RestorationComedy, Shakespeare, etc.

Be sure to provide hero examplesthat represent a range of culturesand traditions, such as the Trickster-Hero in First Nations stories.Encourage students to shareexamples of heroes from their ownspecific cultures and traditions.

Hyperlinks in the LessonBLMS:#1 Types of Heroes#2 Examples of Heroes List#3 Hero Crest Graphic Organizer

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Whole Class > Individual > Research a HeroGive students a list of well-known heroes from a variety of time periods, genres, andcultures (see BLM #2 Examples of Heroes List).

Inform students that they will be conducting research on one of these heroes and willpresent their own frozen statue of their hero in a Museum of Heroes presentation nextclass. Their frozen statue should come alive and tell us four key pieces ofinformation about the hero taken from their research. During the Museum of Heroes,the teacher and classmates will hot-seat the hero and ask him or her questions and thehero will respond in role.

Approximately 20 minutesConsolidationIndividual > Creation of Hero CrestUsing information from the Mind Map exercise and their individual research on theirchosen heroes, students complete the Hero Crest Graphic Organizer BLM #3 basedon the lesson. They can use this Crest to record their research information on theirchosen heroes in preparation for their Museum of Heroes presentation.

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 2: Museum of HeroesCritical Learning Guiding QuestionsIn this lesson, students build on their understanding of the hero by researchingand assuming the role of a chosen hero. Students create a Museum of Heroessimulation during which they speak and are questioned in role as well as write inrole as their hero characters.

What examples of heroes are there inhistory, literature, theatre and other artforms?What are some of the common traits thatheroes share?What are the benefits and pressures ofbeing considered a hero by others?Who are heroes to specific groups ofpeople, such as cultural or other identitygroups?Which hero stories are privileged insociety?Whose hero stories are lesser known?Why are these stories sometimesignored?

Curriculum Expectations Learning GoalsA1.1 use a variety of print and non-print global sources to generate and focusideas for drama activities and presentations

A1.3 use role play to explore, develop, and represent themes, ideas, characters,feelings, and beliefs in producing drama works

A2.1 use the elements of drama to suit an identified purpose and form in dramapresentations

A2.2 use a variety of conventions to develop character and shape the action inensemble drama presentations

A3.2 use a variety of expressive voice and movement techniques to support thedepiction of character

B1.2 interpret short drama works and identify and explain their personal responseto the works

B2.1 identify and explain the various purposes that drama serves or has served indiverse communities and cultures from the past and present

C1.2 use correct terminology to refer to the forms, elements, conventions, andtechniques of drama

C2.2 describe ways in which contemporary dramas show the influence of socialtrends

At the end of this lesson, students will beable to:

• use research to create andassume a role

• speak and respond to questions inrole

• write in role as their selectedcharacters

Instructional ComponentsReadinessThis lesson builds on the discussion and research of heroes from the previouslesson. Students will revisit dramatic forms such as frozen statues and will alsoimprovise with the teacher in role, speak and answer in role and write in role astheir chosen characters.

TerminologyTeacher in RoleSimulationHot-SeatingWriting in RoleCarouselJigsaw

For a more in depth explanation of the Jigsaw literacy strategy, see ThinkLiteracy.

MaterialsCostume and prop pieces (optional)Paper or journals for writing in role

BLMS#4 Hero Museum Visitor Exit Card

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 2: Museum of HeroesApproximately 15 minutesMinds On Pause and Ponder

Whole Class > Teacher in Role > Simulation Role PlayGreet students as teacher in role as the curator of the Museum of Heroes. Informthem that as contributors to the museum they will be "building" their hero statues in theclassroom space and then presenting to their classmates who will be in role as visitorsof the museum. Invite them to tour the space and find an area where they would like tobuild their hero statues (e.g. tragic heroes in one zone, superheroes in another).

Give students time to create their hero statues by rehearsing their presentations with apartner. Use the blackboard or an anchor chart to guide students through the followingsteps of their presentations as they practice.

• Assume a frozen pose of your hero• Animate the statue and speak in role, giving the four key pieces of information

you have researched on your chosen hero• Prepare to be hot-seated by the teacher and respond to the questions posed in

characterApproximately 40 minutesAction!

Individual > Hero Statue Presentations > Hot-SeatingTour the Museum of Heroes in role as visitors. At each zone stop, students performingtheir chosen heroes in that zone assume their roles. Signal students to freeze andanimate in role using a cue such as a clap or snap of the fingers.

After each student has presented, hot-seat the heroes by posing questions andallowing students to respond in role. Give them the option to pass if they are unable toanswer a particular question. You may also wish to invite student visitors to posequestions as well.

Questions for Hot-Seating:Why are you considered a hero?What is your greatest accomplishment? What has been your greatest disappointment?What is your goal? What has stood in the way of your goal?Who considers you to be a hero? Where are you considered a hero?

Approximately 20 minutesConsolidationWhole Group > Debrief Discussion > Exit CardAfter presentations conclude, students abandon their roles and assemble as a class.Facilitate a discussion based on their observations of the Museum of Heroes.

Key Questions for Discussion:Which heroes stood out to you? Why?Did you learn about something or someone you didn't know before? What wasinteresting about this story?Are there any patterns or similarities between the heroes depicted?Are there certain kinds of hero stories that are more well-known than others?Are there specific kinds of heroes whose stories are often untold or lesser-known?Why might this be?What are the benefits of being considered a hero? What might the pressures be ofbeing considered a hero to others?Why are we attracted to the stories of heroes?

Students fill out their Museum of Heroes Visitor Exit Card based on their learningduring the lesson and collect them.

Individual > Writing in RoleDistribute paper or journals for in-class writing. Students write in role as their herocharacters, expressing their feelings about being a hero. Are they happy? Sad?Feeling pressured? They may wish to choose a particular moment in time during theirhero's story from which to write.

Assessment for Learning (AfL)Circulate and give feedback tostudents as they rehearse theirMuseum of Heroes presentations.Collect their writing in role drafts andoffer formative feedback on theirwork.

Assessment as Learning (AaL)Use the Visitor Exit Cards to gaugestudents' learning throughout thelesson. Revisit ideas if they wereunclear and share interestingresponses from the Exit Cards withthe class.

Differentiation (DI)Use different grouping techniquesfor presentations, such as havingtypes of heroes (e,g, folk heroes)present their frozen statues togetherso that they are more comfortable.Consider using the Carouseltechnique (i.e. multiple presentationsat the same time for smaller visitorgroups) or the Jigsaw (small groupspresenting to each other).

Quick TipConsider presenting your own modelhero statue for students before theyrehearse and present their own.

For more reticent performers, pairstudents together and have one actas the "tour guide" who presentsinformation about the frozen statue.Consider allowing students toreference their Hero Crest GraphicOrganizer when presenting theirresearch to the class.

Use your discretion when followingactivities; some activities may beskipped or reordered depending onstudents' needs. For example,consider having students completeexit cards or write in role rather thandoing both.

Link and LayerExplain to students how dramatictechniques such as thought-tracking,hot-seating and writing in role can beused to extend and developbackground information and subtextfor their characters.

The Debrief Discussion is anopportunity to engage in criticalliteracy with students around issuesof representation. This teachablemoment might include a discussionof what kinds of hero stories areoften left out of history, includingthose of specific genders, cultural

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

backgrounds and sexualorientations. Acquaint students withexamples of these heroes, such asTecumseh, Harvey Milk, andAngelique and the burning ofMontreal.

Hyperlinks in the LessonBLM #4 Visitor Exit CardThink Literacy

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 3: The Story of Joan of Arc: Warrior, Heroine, MartyrCritical Learning Guiding QuestionsIn this lesson, students explore a hero story through a variety of dramatic formsand conventions. Students learn the historical details of Joan of Arc's life anddeath, and use these facts as a basis for dramatization. Students improvise in rolewith the teacher in order to understand the ways in which Joan of Arc fulfills thedefinition of a hero.

How do significant objects relate tocharacter?How do these significant objects connectto our concept of the hero?In what ways can Joan of Arc be seen asa hero?In what ways was Joan an unlikely hero?

Curriculum Expectations Learning GoalsA1.1 use a variety of print and non-print global sources to generate and focusideas for drama activities and presentations

A1.3 use role play to explore, develop, and represent themes, ideas, characters,feelings, and beliefs in producing drama works

A2.2 use a variety of conventions to develop character and shape the action inensemble drama presentations

A3.2 use a variety of expressive voice and movement techniques to support thedepiction of character

B1.2 interpret short drama works and identify and explain their personal responseto the works

C1.1 identify the drama forms, elements, conventions, and techniques used intheir own and others’ drama works, and explain how the various components areused or can be used to achieve specific purposes or effects

C1.2 use correct terminology to refer to the forms, elements, conventions, andtechniques of drama

At the end of this lesson, students will beable to

• use historical details about the lifeof Joan of Arc as the basis fordramatic exploration

• assume the roles of Joan and/orpeople connected her andimprovise in role

• express personal opinions aboutJoan of Arc and her status as ahero

Instructional ComponentsReadinessThis lesson builds on students' knowledge of role play, tableaux and scene workfrom previous lessons. The teacher may wish to connect this lesson to previousstudy of Joan of Arc in other classes or contexts; alternatively, these activitiescould be conducted with another hero source, such as a folktale or myth.

TerminologyObjects of CharacterRole on the WallCircular DramaPrepared RolesSpectrum of DifferenceAnchor Chart

For a more in-depth explanation of these dramatic forms, see Structuring DramaWork by Jonothan Neelands and Tony Goode.

MaterialsSignificant objects related to Joan of Arc(flower, rosary, scissors, women'sclothing, a banner, letters written inFrench, battle armour, etc.)Chart paper and markers

BLM#5 Objects of Character ScenarioDescriptions#6 Prepared Role Descriptions#7 Information on Joan of Arc

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 3: The Story of Joan of Arc: Warrior, Heroine, MartyrApproximately 15 minutesMinds On Pause and Ponder

Whole Class > Objects of CharacterForm students into two or three small circles and place the objects of character(flower, rosary, letter, banner) in the centre of the circles. Invite students to approachthe objects and, without touching them, examine them more closely. Consider lettingstudents in pairs choose an object to examine and discuss together.

Questions for Students to Consider:What are the objects?To whom might they belong?What do they tell us about the person they belong to?Are any of these objects connected to the concept of the hero we have beendiscussing?

Whole Class Discussion > Role on the WallAsk students to share their responses with the group. They may or may not bring upthe story of Joan of Arc depending on their level of familiarity with the story. Informstudents that these objects belong to a real historical figure named Joan of Arc (orJeanne D'Arc in french). Ask students if they are familiar with this person and whatthey know about her.

Using chart paper posted to the classroom wall, draw a simple outline of a humanfigure. As students give details about Joan, record their answers inside the figure. Youmay also wish to record their comments on the objects and how they might relate toJoan's story. Give students some basic information regarding Joan's life (see BLM #7Information on Joan of Arc).

Keep the role on the wall sheet posted as an anchor chart for this lesson and thenext.

Approximately 120 minutesAction!Small Groups > Circular Drama of Joan's Early LifeDivide students into four small groups and assign each group an object or objects and aScenario Description (see BLM #5 Objects of Character Scenario Descriptionshandout). Students are to create this particular moment in Joan's early life using eithertableaux or a short scene. They must use the object of character in their dramatization.

As students rehearse, circulate and assist them in the process. Situate each group in adifferent area of the space so that they can present their scenes continuously, using thetechnique of circular drama.

Present dramatizations in chronological order without stopping in between, so thatstudents can see Joan's life as it progresses from one stage to the next.

Whole Class > Debrief Discussion > Role on the WallAfter presentations, reconvene with students and ask them to provide feedback on thepresentations. As students provide new information about Joan of Arc, record thisinformation on the role on the wall. If students have questions about her and/or voicethe opinions others might have of Joan, record these questions and comments outsidethe outline of the figure.

Key Questions for Debrief Discussion:What were the significance of the objects in relation to Joan of Arc's life?What new information did we learn about Joan from these presentations?How did the groups presenting bring this moment to life? What stood out to you aboutthe performance? What new insights did it give you into Joan's life?What questions do you have about Joan of Arc? What would you like to know moreabout in relation to her story?What might other people who know Joan think of her?

Whole Class > Prepared Roles > Large Group Role PlayInform students that they will be taking on the roles of people who know or areassociated with Joan of Arc in some way. They will receive a prepared roledescription (see BLM #6 Prepared Role Descriptions handout) and will assume thatrole using the information on their slip.

Assessment for Learning (AfL)Circulate as students rehearse theirdramatizations and improvise in rolein order to gauge theirunderstanding of the story, andprompt with additional information ifnecessary. Use the role on the wallas an anchor chart for students torefer to as they build theirunderstanding of Joan of Arc's story.

Assessment as Learning (AaL)The spectrum of difference acts asa reflective tool for students and canbe a rich source of discussionrelated to the views people had ofJoan versus modern-dayconceptions of her.

Differentiation (DI)Use a variety of grouping strategies,such as numbering off, drawing lots,etc. to form groups and ensure thatstudents have opportunities to workwith a variety of people in theclassroom.

Quick TipUse outside sources to addadditional information to the Joan ofArc story, such as clips from filmversions, etc.

Hyperlinks in the LessonBLM#5 Objects of Character ScenarioDescriptions#6 Prepared Role Descriptions#7 Information on Joan of Arc

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Divide students in four groups: villagers, family and friends, church officials, and militaryofficials. Give each group the corresponding description sheet.

Set up the context of the large group role play. These people are meeting in the townsquare as they have heard that Joan of Arc, a young village girl, will be arriving toannounce her intention to fight for the French to the Dauphin. As the people describedin their sheets, they have strong opinions about Joan and wish to voice them at themeeting.

As they are waiting for Joan to arrive, they should mingle and gossip with others,expressing their opinions about Joan of Arc. They can use the comments recordedabout Joan from the role on the wall sheet to inform their opinions.

As students circulate, assume the teacher in role of Joan of Arc (you may wish to useone of the objects of character to make this obvious, such as the banner). Assign astudent or colleague as the Dauphin to sit onstage with other military personnel, whowill listen to what Joan has to say (alternatively, you may wish to assign the role of Joanto a student and assume the role of the Dauphin).

Students in role assemble in the town square to hear Joan's charge to the Dauphin.Inform the Dauphin of Joan's intention to fight based on the information she hasreceived from her "voices." Allow students in role to voice their opinions on whether ornot Joan should be allowed to fight.

Stop the action before the Dauphin announces his final decision.Approximately 10 minutesConsolidation

Whole Group > Discussion > Spectrum of DifferenceAfter the large group improvisation, students share their observations. What opinionswere voiced about Joan? Who supported her? Who opposed her? Why are theresuch divided opinions on Joan?

Ask students to consider, based on the opinions voiced, whether or not they believeJoan should go to battle. You may wish to list the pros and cons together as a class onthe blackboard or chart paper.

Designate an invisible line across the classroom space called the spectrum ofdifference. At one end of the line is the belief that Joan should go to battle; on theother side is the belief that she should not go. Ask students to find a spot along thespectrum that they feel corresponds to what their character would want Joan to do.Invite students to share why they chose the spot they did.

Secondly, ask students to find a spot along the spectrum that corresponds to what theypersonally feel Joan should do. Again, ask them to share their responses. What wasthe difference between the two choices?

Inform students of the final decision for Joan to go to battle and let them know that inthe next lesson they will learn more about what happened to Joan in battle.

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 4: The Fate of Joan of ArcCritical Learning Guiding QuestionsThis lesson builds on the learning of the previous lesson in relation to the story ofJoan of Arc. In this lesson, students explore the feelings of fears of Joan as shegoes into battle, and learn about her capture, trial and execution. Students use avariety of dramatic forms to dramatize the latter part of Joan's life, such assoundscape and writing in role. Finally, students analyze how Joan fits thedefinition of a hero.

What might Joan of Arc have felt as sheheaded into battle?Why was Joan executed? Were thecharges fair or unfair?How has history treated Joan of Arc?How do others see her?Does Joan fit the definition of a hero?What type of hero? Why or why not?In what ways could Joan be considered afolk hero, reluctant hero, underdog, etc.?

Curriculum Expectations Learning GoalsA1.1 use a variety of print and non-print global sources to generate and focusideas for drama activities and presentations

A1.3 use role play to explore, develop, and represent themes, ideas, characters,feelings, and beliefs in producing drama works

A2.1 use the elements of drama to suit an identified purpose and form in dramapresentations

A2.2 use a variety of conventions to develop character and shape the action inensemble drama presentations

B1.2 interpret short drama works and identify and explain their personal responseto the works

B1.3 identify aesthetic and technical aspects of drama works and explain how theyhelp achieve specific dramatic purposes

C1.1 identify the drama forms, elements, conventions, and techniques used intheir own and others’ drama works, and explain how the various components areused or can be used to achieve specific purposes or effects

C1.2 use correct terminology to refer to the forms, elements, conventions, andtechniques of drama

C3.2 identify and apply the skills and attitudes needed to perform various tasksand responsibilities in producing drama works

At the end of this lesson, students will beable to:

• use dramatic forms to explore thethoughts and feelings of a centralcharacter

• use historical information as thebasis for dramatic work

• express their personal opinions onthe Joan of Arc story and herstatus as a hero

Instructional ComponentsReadinessThis lesson builds on the learning of the previous lesson and should be deliveredin sequence directly after that lesson. In the Consolidation discussion, studentswill revisit the various types of heroes when describing which type of hero theybelieve Joan is.

TerminologySoundscapeBehind the SceneCaption MakingInner-Outer CircleSentence StemGraffiti

For more information on the Graffiti strategy see Think Literacy

MaterialsWriting materials (pen, paper)Music, such as Leonard Cohen's "Joan ofArc"Photographs of statues and paintings ofJoan of Arc represented in various ways(e.g. in battle, as a woman, saint, etc.)

BLMs#8 Famous Quotations from Joan of ArcFor more information on Critical Literacy,see EduGAINS.

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 4: The Fate of Joan of ArcApproximately 20 minutesMinds On Pause and Ponder

Whole Class Discussion > Writing in RoleLead students in a discussion that summarizes the previous day's lesson. At the end ofthe last lesson, the Dauphin agreed to let Joan lead the French army.

Key Questions for Discussion:What emotions might Joan be feeling as she prepares for battle?What are her hopes? Her fears?To whom might she express her innermost thoughts?

Record student brainstorming on an anchor chart for students to reference in thewriting in role activity to follow. Inform students they will be writing in role as Joan asshe prepares for battle. She is writing a letter expressing her thoughts and emotions atthis point in time. Allow students to choose the audience of this letter from theirbrainstormed idea (e.g. her mother, best friend, etc.)

Consider playing music (such as Leonard Cohen's "Joan of Arc" or a piece of aparticular mood) while students write their letters.

After students have had time to write rough drafts of their writing in role pieces, askthem to underline the sentence they feel best sums up Joan's emotional state at thistime. Invite students to share their writing and/or their chosen lines to the class, insmall groups, or in pairs to receive feedback on their writing.

Approximately 60 minutesAction!Small Groups > Behind the Scene > Soundscape and Dramatic ReadingUsing the BLM #8 Information on Joan of Arc handout from the previous lesson, givestudents some background information on the waging of the battle and some of theconditions Joan faced during battle. Divide the class into two groups and give them thefollowing instructions for the behind the scene activity.

Group One: You will collect all of the writing in role pieces of Joan's letter to hermother. Choose lines that appeal to you from them and create a dramatic reading ofthe letter, with different people reading different parts. It is important that each of youhas your own copy to read from, as you will not be able to share one script.

Group Two: You will create a soundscape (sound only, no words) of the battle. Thinkabout the noises one would hear during the battle and the atmosphere you wish tocreate.

Inform both groups that they will be presenting their final pieces while standing in acircular formation using a convention known as behind the scene. Group One will faceoutwards and Group Two facing inwards; encourage them to rehearse in this formationto get used to it. Circulate and offer feedback to groups as they build theirpresentations.

After groups have rehearsed, the students create an inner-outer circle; Group Onestands facing outward, and Group Two forms a circle around Group One, facinginward. Each student should be standing in front of another student from the oppositegroup.

Direct groups to present their presentations one at a time, so that the opposite groupcan listen to their creations (they may close their eyes for optimal effect). For the finalpresentation, ask both groups to present simultaneously. When finished, lead studentsin a discussion regarding the effects of combining these two dramatic forms. What waspowerful? What stood out to them? What emotions did the performance evoke in theaudience?

Whole Class > Small Group Tableau and Caption-MakingRelate facts of Joan of Arc's capture and eventual trial and execution to the class (thiscan be done through discussion, film clips, etc). Post a variety of pictures of paintingsor statues of Joan of Arc on the walls of the classroom and invite students to examinethem. How is Joan represented in each of the pictures? What does each particularpicture suggest about how others saw Joan (e.g. as a warrior, a witch, a saint, amartyr).

Assessment for Learning (AfL)Collect and provide formativefeedback to students on their writingin role pieces or partner students toprovide peer feedback.

Assessment as Learning (AaL)Use the reflection activity in theConsolidation part of the lesson togauge students' understanding ofthe Joan of Arc story and itsconnection to the ongoingdiscussion of heroes.

Assessment of Learning (AoL)Consider assigning students the taskof polishing their writing in rolepieces for evaluation.

Differentiation (DI)Giving students time in class to writein role is a useful tool for strugglingwriters; you may also wish to assigna scribe for certain students. Givestudents the option to pass and/orread smaller portions of their writingrather than the entire piece if theywish.

Quick TipUse music that is thematically linkedto the story of Joan of Arc, such asLeonard Cohen's "Joan of Arc." Youmay wish to use the lyrics of thissong to practise dramatic readingbefore or after the lesson.

Link and LayerIf the role on the wall is still on theclassroom wall, record students'brainstorming during the Minds Onexercise on the same paper.

As extension activities, exploresome of the other source materialthat exists on the topic of Joan ofArc, including Sally Clark's playJehanne of the Witches and/orGeorge Bernard Shaw's Saint Joan.

The final reflection activity is anexcellent opportunity to engage incritical literacy on the topic ofperspective; there are manyconflicting views on Joan of Arc justas there are of many other historicaland political figures, such as CheGuevara, Nelson Mandela, etc. Youmay wish to discuss the ways inwhich gender, cultural and ethnicbackground, religious affiliation and

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Inform students of the various records that exist of Joan's trial and her many famousstatements while on trial. Divide them into small groups and assign each group oneFamous Quotation from Joan of Arc (see BLM #8 handout). Students create atableau representation of Joan that illustrates their statement. They may wish to takeinspiration from the pictures when creating their frozen images, and they should havetheir caption or statement read aloud during their presentation of the image.

When students have finished their creations, present their tableaux consecutivelyaround the room to music, with each presentation accompanied by the reading of theFamous Quotation.

Approximately 15 minutesConsolidationWhole Class Discussion > ReflectionInvite students to share their reactions to the tableaux and Famous Quotations of Joan.

Key Questions for Discussion:What images and/or lines stood out to you? Why were they powerful?What was the effect of combining music with the images?In your view, is Joan a hero? Why or why not?Is Joan a specific type of hero? How does she fit the definition of a folk hero, a warrior,an underdog, a tragic hero, etc?Why in your view was Joan put on trial and executed? Do you feel she was unfairlytargeted or discriminated against? Why?Why do you think there are so many different views of Joan of Arc: as a witch, awarrior, a saint? What does that say about the nature of heroes and heroism?Are there other heroes you can think of that have been unjustly persecuted and/orkilled? Why do you think this happens?What makes Joan an unlikely hero? What does her gender and age have to do withthe way she was treated by others?

Consider asking students to reflect to one of these questions in written form. Or, askstudents to complete the following sentence stem in written or oral form and share withthe class:

I believe Joan of Arc is a __________________ hero because________________________.

Extension Activities:Students write their sentence stems or excerpts from their reflections using the graffitistrategy. Additionally, you may wish to create two graffiti walls: one which expressesthe impressions of Joan of Arc held by those who lived during her time period and theother with the impressions held of Joan of Arc today.

Discuss the differences between these two time periods and why our impressions ofthis historical figure have changed over time. Is this also true of other historicalheroes?

Share with students some examples of art that has been inspired by the life of Joan ofArc, including music, film, plays, etc. Why do you think Joan's story has served asinspiration to so many? Why, more than 500 years after her death, are we still tellingthe story of Joan of Arc?

sexual orientation impact on the waythese heroes are viewed by others.

Hyperlinks in the Lesson#8 Famous Quotations from Joan ofArcThink LiteracyFor more information on CriticalLiteracy, see EduGAINS.

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 5: Final Summative Evaluation Heroes in Our TimeCritical Learning Guiding QuestionsIn this lesson, students apply their learning about heroes and their stories to thecontemporary world. Students discuss how heroes are represented in currentevents, popular culture and sports and identify the impact of personal heroes intheir own lives. Students dramatize scenes of modern day heroes as an initialbrainstorming for their final summative task of creating an original contemporaryhero tale.

Do heroes exist today?Where do we find heroes in everydaylife?How has the concept of the hero changedover time?How can we use the concept of the heroand the hero's journey to create drama?How do we adapt traditional hero storiesinto a contemporary context?

Curriculum Expectations Learning GoalsA1.1 use a variety of print and non-print global sources to generate and focusideas for drama activities and presentations

A2.1 use the elements of drama to suit an identified purpose and form in dramapresentations

A2.2 use a variety of conventions to develop character and shape the action inensemble drama presentations

A3.2 use a variety of expressive voice and movement techniques to support thedepiction of character

B1.2 interpret short drama works and identify and explain their personal responseto the works

B1.3 identify aesthetic and technical aspects of drama works and explain how theyhelp achieve specific dramatic purposes

B2.1 identify and explain the various purposes that drama serves or has served indiverse communities and cultures from the past and present

C1.1 identify the drama forms, elements, conventions, and techniques used intheir own and others’ drama works, and explain how the various components areused or can be used to achieve specific purposes or effects

C1.2 use correct terminology to refer to the forms, elements, conventions, andtechniques of drama

C2.2 describe ways in which contemporary dramas show the influence of socialtrends

C3.1 identify and follow safe and ethical practices in drama activities

C3.2 identify and apply the skills and attitudes needed to perform various tasksand responsibilities in producing drama works

At the end of this lesson, students will beable to:

• identify contemporary examples ofheroes

• identify personal heroes andexplain their impact on their ownlives

• explain steps of the hero's journey• use the concept of the hero and

the hero's journey in the creationof original drama works

Instructional ComponentsReadinessThis final lesson builds on all of the learning of the previous lessons. Studentsshould be familiar with using improvisation in order to create original drama workas well as positive collaborative skills when working in a group setting.

TerminologyMind MapSculptureThe Hero Journey or MonomythChoice Board

For more information on the mind map strategy see Think Literacy

MaterialsWriting materialsTechnologies tools for performance:lighting, music, set and costume pieces

BLMs#9 The Hero's Journey#10 Final Summative Task handout#11 What is a Hero? Planning Checklist#12 Teacher Observation Checklist#13 Rehearsal Exit Card#14 Final Summative Task Rubric#15 Post-Performance Reflection

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

Grade 9 Dramatic Arts, OpenADA1OHeroes

Lesson 5: Final Summative Evaluation Heroes in Our TimeApproximately 20 minutesMinds On Pause and Ponder

Whole Class Discussion > Mind MapBuilding on our discussion of heroes, students brainstorm examples of heroes fromcontemporary life. Record their answers on a mind map on the blackboard or chartpaper.

Key Questions for Discussion:Who are considered to be heroes today?In which areas of society to we see heroes? Current events? Sports? Media?What similarities exist between modern day heroes in comparison to heroes of old?What differences exist between these examples?Has our definition of a hero changed over time? Why might this be?

Create a posted list of qualities many heroes share, such as the quest/journey, a senseof purpose or mission, obstacles and guides along the way, attainment of a goal, etc.Consult he handout on the Hero Journey to explain the various stages of the hero'sjourney. These criteria will be used as the basis for the final summative evaluation.

Pairs > Human SculpturesStudents form pairs and select a particular example of a modern day hero from themind map, such as a sports hero or someone from popular media. Assign one partnerto be A and one to be B. Person A then "sculpts" Person B into a frozen representationof that hero. The sculpture could be literal, showing the person engaging in a heroicaction, or could be abstract, representing an emotion or quality in that hero. Havestudents switch roles and try again with a different example.

Individual > Written ReflectionAsk students to reflect on a hero in their own personal lives. This could be a familymember, a friend, or someone that they admire but perhaps have never met. In writing,they should describe why they feel this person is a hero.

Approximately 60 minutesAction!Small Group > Discussion > Scene CreationAsk pairs to join another pair and form a group of four. Invite them to share their writtenreflections with the small group, and to choose one example from their writings whosestory they feel would be interesting to dramatize.

Ask students to create a short 2-3 minute scene about their chosen personal hero. Thescene should show an act that would be considered heroic, and may include otheraspects of the hero's journey, such as obstacles, guides, etc.

Circulate as students rehearse and offer feedback. Consider pairing groups and havingone act as audience and provide feedback to another.

Share the presentations with the class and discuss them. What kinds of heroes didthey represent? In what ways do these heroes fulfill the criteria set during the MindsOn activity?

Small Group > Introduction of Summative EvaluationIntroduce the final activity students will be engaging in for this unit using the What is aHero? Summative Evaluation Task.

Divide students into groups (see Quick Tips for grouping strategies) and review theelements of the hero criteria and the hero's journey discussed in previous lessons.Allow groups to choose the form of hero story they will tell from the four options given.Delete or add choices from the assignment depending on students' needs.

Small Group > Creative ProcessFacilitate students as they work through the creative process and provide feedback asneeded. Consider posting the Creative Process Chart (see Ministry document) in theclassroom for students to reference as they rehearse, and use the TeacherObservation Checklist to record data for evaluation.

Assessment of Learning (AoL)The final summative evaluation isdesigned to evaluate learningthroughout the unit, both process,product, and post-performancereflection.

Assessment as Learning (AaL)The final written reflection is ametacognitive tool for students touse to reflect on the learning gainedin this unit.

Differentiation (DI)Allowing flexibility in grouping andwhich forms to use allows studentsof all learning styles to contribute.

The final summative task providesfour options for students to choosefrom for their final hero storyperformances. This choice boardapproach to an assignment allowsstudents to pursue their owninterests and build on their ownindividual strengths.

Quick TipConsider giving students moreinformation on the hero's journeyor monomyth to aid them in theircreation of the stories. Use theHero's Journey or Monomythhandout and an example of a storythat follows the monomyth structure,such as Odysseus or the Lord of theRings to demontrate they variousstages.

Consider asking students to providea list of names of people they wouldlike to work with on a paper ballot tothe teacher. The allows bothstudent and teacher input into thegroup making process.

Link and LayerUse the criteria generated during themind map to create a criteria of theelements that make up heroes andhero stories for students to use intheir brainstorming.

Hyperlinks in the LessonBLMs#9 The Hero's Journey#10 Final Summative Task handout#11 What is a Hero? PlanningChecklist#12 Teacher Observation Checklist#13 Rehearsal Exit Card#14 Final Summative Task Rubric

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.

In the early stages of rehearsal, instruct students to use the What is a Hero? PlanningChecklist to ensure their performance fulfills the criteria of the assignment. Before thefinal dress rehearsal, instruct groups to complete the Rehearsal Exit Card to gatherinformation about their creative process and problem solve as needed.

Whole Class > What is a Hero? PresentationsStudents share their hero story presentations with the class. Facilitate discussion andstudent feedback after each performance.

ConsolidationIndividual > Written ReflectionWhen presentations have concluded, assign students any combination of the reflectionquestions from the Post-Performance Reflection handout. You may wish to reviewthese questions before final presentations and ask students to take written notes duringperformances to use as the basis for their written reflections.

#15 Post-Performance Reflection

Link to Creative Process Chart fromMinistry document (secondary - notyet out).

© Council of Ontario Drama and Dance EducatorsCreated with funding provided by the Ontario Ministry of Education.