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MASTER SYLLABUS |
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THEA 2250 |
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| Class Hours: 3.0 | Credit Hours: 3.0 | ||||||||
| Laboratory Hours: 3.0 | Date Revised: Spring 01 | ||||||||
| Catalog Course Description: | |||||||||
| Innovative methods of improvisational drama to develop creative thinking, improve oral and written communication and learn dramatic structure. An emphasis is on problem solving through playwriting. The techniques can be used in theatre, education, therapy, childcare and recreation. | |||||||||
| Entry Level Standards: | |||||||||
| The student must be able to read and write on the college level. | |||||||||
| Prerequisite: | |||||||||
| ENGL 1010 | |||||||||
| Textbook(s) and Other Course Materials: | |||||||||
| Improvisation:
Dramatic Structure and Language Arts by Elizabeth Rike;
The
Symbolic Dramatic Play-Literacy Connection: Whole Brain, Whole Body,
Whole Learning by Joyce A. Wilkinson;
Guiding Dramatic Play – K Through Primary by Elizabeth Rike |
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| I. Week/Unit/Topic Basis: | |||||||||
| Week | Topic | ||||||||
| 1 | Course Overview and definitions of Creative Drama | ||||||||
| 2 | Exploration of non-verbal communication using pantomime exercises and sense awareness games | ||||||||
| 3 | Strategies of guided symbolic dramatic play as it relates to the whole brain and brain to acquire language and meaning | ||||||||
| 4 | The 5 Ws for writing and improvisation | ||||||||
| 5 | Structural elements using the Rike 7 W System exploring a beginning, middle and end for plot concept and conflict resolution | ||||||||
| 6 | The study of conflict
with one’s self, others, and one’s environment; exploring
emotions and points of view |
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| 7 | The study of Language Arts; beginning imagination exercises and theatre games that builds sentence structure and parts of speech simultaneously | ||||||||
| 8 | Creating a scenario; exploring the senses | ||||||||
| 9 | Exploring imagination; developing a group writing project integrating the arts | ||||||||
| 10 | Creating essays, editorial, cartoons, documentaries, and play scripts from The Rike 7 W System; socio-drama strategies to explore personal and social concerns | ||||||||
| 11 | Developing dialogue and making the transformation from script to production | ||||||||
| 12 | Using dramatic literature to explore story enactment; multicultural units | ||||||||
| 13 | Studying theme oriented drama to create scenarios | ||||||||
| 14 | Creative Drama for Pre School Programs through grade 12 | ||||||||
| 15 | Adaptations of Creative Drama in a variety of settings including after school programs, institutional uses and community programs | ||||||||
| 16 | Applying the strategies learned to your particular field | ||||||||
| II. Course Objectives*: | |||||||||
| A. | Learn the elements of drama and dramatic structure. I.5 | ||||||||
| B. | Explore drama in its multicultural, social, and historical context. I.5, IV | ||||||||
| C. | Learn concrete ways to implement the techniques of creative drama in education, theatre, therapy and recreation. I.5 | ||||||||
| D. | Explore creative drama as a tool for the theatre student as actor, writer, director, designer, technician, historian and audience member. I.5 | ||||||||
| E. | Understand symbolic dramatic play as a child’s link to literacy and creative thinking. I.5 | ||||||||
| *Roman numerals after course objectives reference goals of the university parallel program. | |||||||||
| III. Instructional Processes*: | |||||||||
| Students will: | |||||||||
| 1. | Listen to lectures, read handouts and texts and analyze the methodologies of Elizabeth Rike, Brian Way, Dorothy Heathcote, Winifred Ward, Paul Sills, Viola Spolin, and Paul Baker. Communication Outcome, Problem Solving and Decision Making Outcome, Cultural Diversity and Social Adaptation Outcome, Information Literacy Outcome | ||||||||
| 2. | Listen, interact, respond and contribute to imaginative play and creative exercises. Communication Outcome, Cultural Diversity and Social Adaptation Outcome, Active Learning Strategies | ||||||||
| 3. | Learn concrete ways to implement creative drama techniques to theatre, education, therapy and recreation. Communication Outcome, Problem and Decision Making Outcome, Transitional Strategies | ||||||||
| 4. | Create original stories and scenarios from the exercises into a variety of genres including commedia delle arte, melodrama, comedy and drama. Communication Outcome, Problem Solving and Decision Making Outcome, Cultural Diversity and Social Adaptation Outcome, Active Learning Strategies | ||||||||
| 5. | Keep a journal of activities and record personal responses to them and create applications. Communication Outcome, Personal Development Outcome, Cultural Diversity and Social Adaptation Outcome, Active Learning Strategies | ||||||||
| 6. | Develop a project to apply the techniques and strategies learned. Personal Development Outcome, Cultural Diversity and Social Adaptation Outcome, Active Learning Strategies, Transitional Strategies | ||||||||
| *Strategies and outcomes listed after instructional processes reference Pellissippi State’s goals for strengthening general education knowledge and skills, connecting coursework to experiences beyond the classroom, and encouraging students to take active and responsible roles in the educational process. | |||||||||
| IV. Expectations for Student Performance*: | |||||||||
| Upon successful completion of this course, the student should be able to: | |||||||||
| 1. | Connect the imaginative “as if” thought (right brain function) to verbal skills (left brain function) with the overt body movement of dramatic play. D, E | ||||||||
| 2. | Understand
symbolic dramatic play as a child’s link to literacy and creative thinking.
C, E |
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| 3. | Develop verbal skills in oral interpretation and nonverbal communication through pantomime. C, D | ||||||||
| 4. | Demonstrate a knowledge of Creative Drama techniques and strategies and be able to apply them. A, C, D | ||||||||
| 5. | Acquire a wellspring of theatre games and be able to implement them in the student’s field of study. C, D, E | ||||||||
| 6. | Learn
the strategies for implementing “The Theatre Arts Curriculum Framework
K-12” with the state mandated Language Arts goals K-12 and other interdisciplinary
goals.
B, C, D, E |
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| 7. | Understand drama in its multicultural, social, and historical context. A, B, D | ||||||||
| 8. | Learn the elements of drama and dramatic structure through The Rike 7 W System and their application to theatre, education, therapy and recreation. A, B, C, D, E | ||||||||
| 9. | Learn to react spontaneously and be able to express original ideas in both words and actions. D, E | ||||||||
| 10. | Be able to create original stories and to guide others in doing so. B, C | ||||||||
| 11. | Be able to use dramatic literature to explore story enactment and cultural diversity. A, B, D | ||||||||
| *Letters after performance expectations reference the course objectives listed above. | |||||||||
| V. Evaluation: | |||||||||
| A. Testing Procedures: 40% of grade | |||||||||
| Two tests will be given at a value of 20% each. | |||||||||
| B. Laboratory Expectations: 30% of grade | |||||||||
| Students will be required to participate in the creative exercises in class. | |||||||||
| C. Field Work: 30% of grade | |||||||||
| A student will keep a weekly journal of the activities done in class with responses and applications noted. Reports on observing Creative Drama classes when available will also be included. 10% A creative project implementing the techniques and strategies learned will be presented. The instructor must approve the topic. 20% | |||||||||
| D. Other Evaluation Methods: | |||||||||
| N/A | |||||||||
| VI. Policies: | |||||||||
| A. Attendance Policy: | |||||||||
| Attendance is mandatory. Pellissippi State Technical Community College expects students to attend all scheduled instructional activities. As a minimum, students in all courses must be present for at least 75 percent of their scheduled class and laboratory meetings in order to receive credit for the course. Individual departments/programs/disciplines, with the approval of the vice president of Academic and Student Affairs, may have requirements that are more stringent. | |||||||||