LESSON PLAN TEMPLATE

Year Level: 7 Period/Lesso : 1!2 Date: 2/9 To"i#: Drama Time: 10.20 Le $t%: 1%r1&

Lesson Outcomes: Students will be able to/know Improvisation techniques; Assessment of the outcomes: (How will I assess that students have achieved/demonstrated the outcomes?)

'NT(OD)*TO(Y P+ASE: Time

10.20

A#tivit,
Walk; 5-10; Up !o"n shoul!ers one le# free$e%

O-.e#tive

' di#ator

10%&5

'nives an! (orks ) in silence

10./0

*alk a+out ho" the,-ve .ust improvise! to#ether% One offere! an i!ea an! the other "ent "ith it /coul!n-t +lockit0sa, no literall,1% ' trod0#e 'm"rovisatio 2akin# up shorts pla,s on the spot +ut it-s so much more than that% 1% &% 5% 6% Offer 3ot 4lockin# the offer Acceptin# the offer 78ten!in# that offer

It-s al"a,s a+out the potential of a scene ) lettin# it #ro" to ,our e8tent of ,our ima#ination an! creativit,% 10estio $ro0" a-o0t s2it ideas/o33ers. 7#: 9Is this chocolate +ar on the #roun! ,ours:; 93o; <= 9,es there

it is> I-m so hun#r, ?oh m, #oo!ness m, face is #ettin# so hot> ?;

4ODY O5 LESSON: Time A#tivit, 10.60 @es Let-s> 2a,+e talk a+out the 10 principals liste! on last pa#e to #et ki!s into #ear% *alk a+out usin# the last offer as inspiration if nee!e! +ut also take it off on an interestin# tan#ent etc

O-.e#tive

' di#ator

10.6&

(ree$e *a#

10.&&

Aolishe! improvisations ) =cenarios at +ottom of pa#es% Aresent

11.0&

*ONSOL'DAT'ON: Time A#tivit,

O-.e#tive

' di#ator

I( time

=akata 4an#> 4us =top #ive couple 1st line ) to come up "ith B all up mirror%

(inish 0 summin# up 0 link to the ne8t lesson: Come"ork:

7valuation: =tu!ent: Outcomes met / engaged / on task / learning

2, teachin#:

Strengths / Weaknesses / Changes

Arinciple 5: =ta, in the 2oment In improv "hat is happenin# 3OW is the ke, to !iscover,% I "as at a Li+rar, (utures conference recentl, an! hear! someone sa, DI-m ver, intereste! in the future +ecause that-s "here most of m, life "ill happen%D *hat #ot a +i# lau#h% Well I-m ver, intereste! in this moment +ecause that-s "here ALL of m, life has happene!% An! I-m prett, sure that-s "here most of the action is% /Eoinci!entall, it "as at the li+rar, futures conference that 2ar, Eatherine 4ateson su##este! that the +est "a, to prepare for the future is to take an improv class%%%1 Arinciple 6: =hut up an! Listen Foo! improvisers are not necessaril, more clever or more quick-"itte!% *he, .ust listen +etter? Improv is a+out hearin# "hat others are offerin# an! +uil!in# off it% It-s har! to !o that "hen ,our #ums are flappin-% Arinciple 5% Action +eats inaction Gon-t talk a+out !oin# it !o it% 4e specific% In Improv there is a D+ias for actionD% I-ve also seen the term D+ias for actionD liste! as a common trait of effective lea!ers% Wh,: 4ecause active choices move thin#s for"ar!% *he more specific the choice the +etter% =pecific choices are committe! choices% =pecific choices move thin#s for"ar! an! allo" others to respon! to an! +uil! off of ,our offers% Arinciple B% 4e honest In improv "e are tau#ht to e8press "hatever is comin# up in us at that moment% *o !o that "e have to learn not to censor or .u!#e our o"n thou#hts "hich requires some ma.or re"irin# of the +rain? *he onl, value "e +rin# to the scene is our honest response to "hat-s happenin#% Arinciple H: Let #o of /,our nee! to1 control *he onl, thin# "e can control are our o"n choices% Ieali$in# that "e are not in control of an,thin# else is the ke, to !e-stressin# an! #ettin# into the flo"% An! the flo" is "here "e are creative% *he flo" is "here "e are pro!uctive% *he flo" is "here "e are connecte! to others% *he flo" is "here "e are happ,% Jan asi!eK Interestin#l,? What happens "hen "e stop focusin# ener#, on thin#s that "e can-t control: *hat ener#, #ets focuse! on thin#s that "e can control an! ironicall, "e en! up e8ertin# more influence% Arinciple L% *here are no mistakes 7arlier I sai! that "e have to +e "illin# to make mistakes% 4ut movin# +e,on! that "e learn to not see choices as mistakes% In improv there are no mistakes or +a! i!eas there are onl, interestin# choices% We respect all the

choices /aka offers1 ma!e +, others an! fin! "a,s to +uil! off of them no matter ho" challen#in# the, ma, +e% *here are no mistakes +ecause ever,thin# can +e +uilt upon% 7ver,thin# that happens is an opportunit,% Arinciple M: *rust Learnin# improv "e learn to trust ourselves% We trust our impulses an! our choices /"hich "e can !o +ecause there are no mistakes an! "e are not alone%1 An! "e learn to trust in others /to D.ustif,D our Dinterestin# choicesD +uil! off them an! "eave them into the fa+ric of the scene%1 When learnin# to trust our i!eas it helps to remem+er that i!eas are infinite% =o no matter "hat stran#e hole it seems "e-ve !u# ourselves into in a scene there are an infinite num+er of i!eas that can help !i# us out% Arinciple 10% *eam"ork /ro" ro" ro"1 We-re all in this to#ether% 3o one person is responsi+le for the success or failure of a scene% It succee!s or not +ase! on our a+ilit, to "ork to#ether% *his requires stron# in!ivi!uals makin# stron# choices "ho trust each other an! themselves% As a #roup "e learn to focus on solutions% As in!ivi!uals "e learn to focus on #ettin# results /i%e% movin# the scene for"ar!1 instea! of +ein# ri#ht or an#lin# for attention or cre!it% We rise or fall as one% *he U+er Arinciple: D@es an!%%%D =o there are the +i# 10 principles of improv as seen +, an improv ne"+ie% 4ut I-! like to conclu!e +, mentionin# one final improv principle% It-s a principle that runs throu#h all the others an! infuses improv "ith it-s spirit% *his is the principle of D@es an!D% D@es an!D means that "e accept ever,thin# that happens as an offer as a #ift% It is our .o+ to +rin# our unique perspective to +ear an! +uil! off of "hatever is #iven to us% D@es an!D implies acceptance +ut not acquiescence% D@es an!D ackno"le!#es the realit, of the moment +ut also inspires us to create the future% Yo0 a d ,o0r 3rie d are setti $ o33 o0t to sea i ,o0r o0t7-oard e $i e motor -oat. Yo0 are 3eeli $ #o 3ide t a-o0t #at#%i $ some 8%iti $ 3or di er9 -0t ,o0r 3rie d is s#ared9 -e#a0se %e/s%e 8at#%ed :;a8s : a d is o8 terri3ied o3 s%ar2s. Yo0 are ver, "ers0asive a d -e3ore lo $ ,o0 are #%0$$i $ o0t to t%e t%ree72ilometre mar2. Ever,t%i $ is $oi $ smoot%l, a d ,o0 are reeli $ i t%e -i$ #at#%es9 0 til it is time to ret0r to s%ore. T%e e $i e 8ill ot start a d ,o0r 3rie d %as $o e i to e<treme "a i# mode. Yo0 ta2e #o trol a d $et o0t t%e tr0st, oars. T%i $s are "ro$ressi $ 8ell a d la d is dra8i $ earer. *+OMP= O e o3 t%e oars is missi $= O l, o e le3t= O% o= No e le3t= Yo0 #a o8 3eel t%e vi-ratio s o3 somet%i $ 0d$i $ t%e 0 der eat% side o3 t%e -oat. S%o8 8%at %a""e s. or Yo0 %ave .0st %ad a Do0-le 10arter Po0 der a d a lar$e dri 2 a d ,o0 $o to meet ,o0r 3rie d at t%e rail8a, statio . To$et%er ,o0 #at#% t%e e<t trai . Yo0r 3rie d %as a me$a si>e "a#2et o3 T8isties9 a "a#2et o3 A3ter7Di er Mi ts a d a t8o litre 5a ta. To$et%er ,o0 3i is% t%ese o33 a d ,o0 are o8 ver, 30ll. At t%e e<t statio a %0$e #ro8d $ets o . Yo0 are o8 rat%er #om"ressed a d t%e tem"erat0re is risi $. So too is all t%at 3ood= Yo0 #a 3eel t%e 5a ta ma2i $ its 8a, 0" ,o0r t%roat a d it is ta2i $ all o3 ,o0r #o #e tratio to "reve t ,o0rsel3 3rom -ei $ si#2. S%o8 8%at %a""e s 8%e t%ere is o 8a, t%at ,o0 #a ma2e it to t%e door= or Yo0 are 8al2i $ %ome a d e .o,i $ t%e smells a d si$%ts o3 S"ri $. A sea$0ll "asses over%ead a d de"osits a $re,9 -la#2 a d 8%ite li?0id mess all over ,o0r %ead. 't tri#2les do8 ,o0r 3a#e a d o to ,o0r $lasses9 O0t o3 e#essit, ,o0 m0st #lea t%em9 -e#a0se 8it%o0t ,o0r $lasses9 ,o0 are -li d. Sadl, ,o0 dro" t%em a d i t%e #o 30sio e d 0" treadi $ o ,o0r o8 $lasses. Determi ed to "ro#eed %ome9 ,o0 #o ti 0e t%e .o0r e, %ome. As ,o0 #ome ro0 d t%e #or er9 ,o0 are reall, "leased to see ,o0r -est 3rie d@. +o8ever %e/s%e is a#ti $ stra $el,@ eve i$ ori $ ,o0. S%o8 8%at %a""e s 8%e ,o0 3i d o0t t%at ,o0 %ave -ee %avi $ a #o versatio 8it% a sto-ie "ole=