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EDUCATOR RESOURCE GUIDE

Presents

Danny, King of the Basement

Synopsis .....................................................................................................................................................

Curriculum Connections & EALRs ..................................................................................................

David S. Craig, Playwright ....................................................................................................................

A Chat with Chris Walker, Sound Designer ...................................................................................

Make Some Theatrical Noise .............................................................................................................

About the Set ..........................................................................................................................................

About the Costumes ..............................................................................................................................

No Place to Call Home ...........................................................................................................................

Seattle Challenge and Urban Plunge .............................................................................................

I Want to Help ..........................................................................................................................................

Talk Yourself into It ................................................................................................................................

Words & Phrases That Might Be New to You .............................................................................

Activity Pages ..........................................................................................................................................

Booklist ......................................................................................................................................................

Evaluation Form .....................................................................................................................................

Table of Contents

3-4

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6-7

8-9

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10-11

12-13

14-15

16-17

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21-22

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SYNOPSIS

Danny’s mother, Louise, wakes him to tell him that her latest boyfriend didn’t turn out to be Prince Charming and they are moving again. So they head out, pushing a shopping cart and towing their tattered luggage. It’s their eighth move in two years because they never have enough money to pay the rent. It’s cold but they make it a long way across the city, with Danny navigating a number of bus routes to get them to their new home, a basement apartment in a house on Clinton Street.

Danny doesn’t mind moving. In fact, he’s good at it. He can pack quickly, knows the bus system, !"#$%&$'!"$()!*&$!$+&,-$./0&"#$0"$!$#!123$4&$5&-,$-6$-%&$!7!/-)&"-$80/,-2$9%0:&$%&;,$<!0-0"5$6"$-%&$

street for his mother to catch up, he passes the time assuming his imaginary secret agent identity, using a toy microphone to communicate with a master control station. When a neighbor boy, Angelo, comes along, Danny hides and watches as Angelo picks up the microphone and pretends to order a pizza. Angelo is a young hockey player who has never managed to score a goal and struggles for attention from his unemployed dad. Startled by Danny, Angelo quickly puts down the toy, but Danny encourages him to continue pretending. Louise arrives, Angelo goes home and it’s time for Danny and

his mom to go into their new place.

But Danny insists that Louise get them some food before they settle in. He gives her the last of their money—$6.98—and tells her exactly what she can afford to buy. He refuses to go into the basement apartment until she returns with their meager groceries.

As he’s waiting for his mom, he spends some more time with Angelo and begins building a friendship with him. He also meets the house owner’s privileged daughter, Penelope. She demands he remove his belongings from the front of her private property, and refuses to believe Danny when he says he lives in the house, too. Danny goads her into betting her brand new coat on it and then he reveals the key to the basement apartment. Penelope says she’ll do anything to get out of the bet. Danny asks her to swear on whatever is most important in her life. He also 50=&,$%&/$!"$&>!)7:&$6.$<%!-$%&$)&!",?$)6/&$-%!"$!"1-%0"5@$A!""1$<!"-,$%0,$.!-%&/@$!$80/&805%-&/$

in the Rocky Mountains, to live with him and his mom. Penelope feels a little uncomfortable sharing with this stranger, but says that she wants her separated parents to talk to each other so that she won’t be '!B5%-$0"$-%&$)0##:&$6.$-%&0/$805%-,2$A!""1$#6&,";-$

take her coat. Instead, he asks only that she be nice to %0,$./0&"#,C,7&'080'!::1@$D"5&:62

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Continued on the next page...

Though Angelo and Penelope are neighbors, they haven’t gotten along for years. But Penelope upholds her promise to act nice and Danny’s good games quickly bring the three kids together. Anything is possible with a great imagination, and the three pretend to be professional hockey players, secret agents and even a medical team operating on Angelo’s brain to improve his hockey skills. Danny believes he can solve anything with a game and he even ventures to talk to Angelo’s intimidating dad, who can often be heard up and down the street, yelling and growling like a dinosaur.

Danny’s mother gets a job as a waitress, and Danny’s life seems okay. Danny still manages the money because otherwise his mom spends it as soon as she gets it. But things are getting better.

Until one day when Louise’s boss ends up in the hospital and she thinks she is going to lose her job. That same day Danny is called on to read aloud in school and his friends realize he can’t read. He 8:&&,$0"$&)+!//!,,)&"-2$4&;,$/&!#1$-6$)6=&$!5!0"2$4&$<!"-,$-6$+&$

with his dad. But the biggest blow of all comes when he gets home. His mom hasn’t lost her job—in fact, she’s been promoted—but ,%&$80"!::1$!#)0-,$,%&;,$+&&"$:10"5$!+6B-$A!""1;,$.!-%&/2$E%&$%!,$

"&=&/$%!#$!"1$0#&!$<%&/&$%&$0,2$A!""1$/B",$!<!1$-6$80"#$%0,$.!-%&/@$

certain that will solve his problems.

Wandering the streets in the cold without proper clothes, Danny is in serious danger. His mother !"#$./0&"#,$,&!/'%$.6/$%0)$#&,7&/!-&:1@$!"#$&=&"-B!::1$80"#$%0)$0"$'/0-0'!:$'6"#0-06"$!-$-%&$

%6,70-!:2$F-;,$-6B'%G!"#G56$!,$-%&$%6,70-!:$,-!..$/&=0=&$A!""12$D-$80/,-$A!""1$0,";-$,B/&$%&$<!"-,$-6$

56$6"$:0=0"5$B"-0:$%&$/&!:0H&,$%6<$)B'%$%0,$)6-%&/$"&&#,$%0)2$9%&"$%&$80"!::1$!5/&&,$-6$,&&$%0,$

friends again, he discovers how much they missed him, too. Angelo shows him the puck, signed +1$%0,$.!-%&/@$./6)$%0,$80/,-$%6'*&1$56!:2$A!""1$/&!:0H&,$<%!-;,$)6,-$0)76/-!"-I$!$-/B&$%6)&$<0-%$

the love of his mother and good friends.

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Danny, King of the Basement touches on many themes and ideas. Here are a few we believe would make good Curriculum ConnectionsI$46)&:&,,"&,,@$J6))B"0-1@$K)7:61)&"-@$L!-&/0!:0,)@$

Friendship, Parental Responsibility, Empathy, Resilience, Imagination, Literacy.

We believe that seeing the show and using our Educator Resource Guide can help you meet the following EALRsI$$$$$$$$$

State Standards

Theatre

1. The student understands and applies arts knowledge and skills.1.1 Understand arts concepts and vocabulary, !"#$%&%$'(()@$0#&"-080&,$!"#$#&,'/0+&,$

'%!/!'-&/,@$,&--0"5@$!'-06",@$'6"8:0'-@$,6B"#,2

1.2 Develops theatre skills and techniques.1.3 Understands and applies theatre genres and styles of various artists, cultures, and times1.4 Understands and applies audience conventions in a variety of settings and

performances of theatre. 3.$M%&!-/&I$M%&$,-B#&"-$'6))B"0'!-&,$-%/6B5%$-%&$!/-,$N#!"'&@$)B,0'@$-%&!-/&@$!"#$=0,B!:$!/-,O2$

3.1 Uses theatre to express feelings and present ideas. 3.2 P,&,$-%&!-/&$-6$'6))B"0'!-&$.6/$!$,7&'080'$7B/76,&2$

Reading

1. The student understands and uses different skills and strategies to read. 1.1 Use word recognition skills and strategies to read and comprehend text. 1.2$P,&$=6'!+B:!/1$N<6/#$)&!"0"5O$,-/!-&50&,$-6$'6)7/&%&"#$-&>-2$$$$

1.3 Build vocabulary through wide reading. 1.4$D77:1$<6/#$/&'65"0-06"$,*0::,$!"#$,-/!-&50&,$-6$/&!#$8:B&"-:12$$$$

2. The student understands the meaning of what is read. 2.1 Demonstrate evidence of reading comprehension. 2.2 Understand and apply knowledge of text components to comprehend text. 2.3 Expand comprehension by analyzing, interpreting, and synthesizing information and

ideas in literary and informational text. 3. The student reads different materials for a variety of purposes.

3.1 Read to learn new information. 3.2 Read to perform a task. 3.4 Read for literary experience in a variety of genres.

Social Studies

2. ECONOMICS The student applies understanding of economic concepts and systems to analyze decision-making and the interactions between individuals, households, businesses, governments, and societies. 2.1 Understands that people have to make choices between wants and needs and evaluate

the outcomes of those choices.

Communication

1. The student uses listening and observation skills and strategies to gain understanding. 1.1 Uses listening and observation skills and strategies to focus attention and interpret

information. 1.2 Understands, analyzes, synthesizes, or evaluates information from a variety of sources.

CURRICULUM CONNECTIONS & EALRs

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DAVID S. CRAIG, PLAYWRIGHT

Danny, King of the Basement *'!+,##-+"#./0.1#2+'((+03#.+4'-'2'+'-2+5*#+6-%5#2+75'5#!+'-2+%-+05*#.+"'.5!+0/+5*#+80.(2+'!+8#((9+:*%!+%!+'-+%-5#.3%#8+5*'5+"(')8.%;*5+<'3%2+79+4.'%;+;'3#+'+1%22(#=!$*00(+!5>2#-5+/.01+?%#--'@+A>!5.%'+',0>5+&%3#+)#'.!+';09

When did you start writing plays? I was an actor and I wanted some good roles to perform in ,6$F$,-!/-&#$</0-0"5$7:!1,2$D-$80/,-$-%&$7:!1,$<&/&$=&/1$,0)7:&2$M%&$80/,-$7:!1$F$</6-&$<!,$:*#+B#'.2#2+C'2)+C03#!+5*#+D')0.. I played the bearded lady! We performed it in parks and it involved a lot of running! Why do you write plays for children and not adults?

Actually, I write plays for adults, too. But I am best known for my plays for children. I don’t know why that happened. I wrote one and it went well so I wrote another and it went well and then people started asking me to write plays so I did and then I was a “Children’s Playwright.” I do love making kids laugh and trying to say complicated things in simple ways.

How did you get inspired to write Danny, King of the Basement?

I was driving in my car listening to the radio. The news was on and the announcer was talking about a report on homelessness in Toronto, where I live. Now I knew there was a problem with %6)&:&,,"&,,$N<&;=&$!::$,&&"$-%!-@$/05%-QO$+B-$F$#0#";-$*"6<$-%!-$RS$7&/'&"-$6.$-%&$7&67:&$<%6$are homeless are children under the age of 12. That really, really surprised and saddened me because Toronto is the richest city in Canada and probably one of the richest cities in the world. I decided, right then, that I had to do something—as a father and a citizen and a playwright—and what I decided to do was write a play. Why do you think your play is so successful?

I don’t know. I think it’s a miracle. None of my other plays have been understood so well and so quickly. People say the story is universal, but as you can see from what I wrote above, the motivation for the play was very personal and very local.

Which of the parents we see on stage (Danny’s mother, Penelope’s mother or Angelo’s father) would you choose if you were a child and had to choose?

That is a very interesting question. I think I would choose Danny’s mother because she seems like a lot of fun. But my own parents made sure I had warm clothes, lots to eat and took me skiing which I loved. Danny’s mother couldn’t afford those things.

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We don’t know what memories Danny has of his father or if he has memories at all. What is your opinion?

I think Danny’s father left shortly after Danny was born. I think he never intended to be a father and so one day he just left. This meant Louise had to raise Danny on her own. When Danny started getting older and began asking questions about his dad, Louise made up a story of how %0,$#!#$<!,$!<!1$+&0"5$!$80/&G805%-&/$0"$-%&$T6'*1$L6B"-!0",2$E%&$&=&"$,&"-$A!""1$!$76,-'!/#$of the Mountains as if it came from his dad. The postcard became Danny’s most treasured possession.

When you were a boy, what were your dreams? Did you dream of working in the theater?

When I was a boy I sang in a church choir and I dreamed of being a Vienna Choir Boy. It’s true. I had seen a Walt Disney movie about them and I wanted to learn German and move to Austria. I asked my choir master how long it would take to learn German and he said a long time. No one encouraged my dream so I eventually believed it was impossible. Sigh.

What do you like most about your kind of work?

Working with other artists and theater professionals. I love being part of a team. Instead of winning a game, we work together to put on a show. I love putting on shows.

<'3%2+79+4.'%;+*'!+8.%55#-+10.#+5*'-+EF+".0/#!!%0-'(()+".02>$#2+"(')!+%-$(>2%-;+5*#+%-5#.-'5%0-'(+hit comedy Having Hope at Home9+G%!+'2'"5'5%0-+0/+The Neverending Story premiered at the H1';%-'5%0-+75';#+'-2+5*#+7#'55(#+4*%(2.#-I!+:*#'5.#+'-2+.#$#-5()+"(')#2+50+.'3#+.#3%#8!+'5+J0>-;+K#0"(#I!+:*#'5.#+%-+:0.0-50+'-2+5*#+7L%.,'((+4#-5#.+%-+M#8+J0.L9+N0.+O0!#-#'5*+:*#'5.#+*#+*'!+8.%55#-+5*#+%-5#.-'5%0-'(()+'$$('%1#2+Danny, King of the Basement+P<0.'+D'30.+D00.#+A8'.2+/0.+

B#!5+K.02>$5%0-@+Q#.1'-+4*%(2.#-I!+:*#'5.#+K.%R#+-01%-'5%0-S+'!+8#((+as Tough Case, Smokescreen and Rocket and the Queen of Dreams9+T%5*+O0,#.5+D0.;'-+*#+*'!+8.%55#-+Morgan’s Journey, Head à Tête, The Book of Miracles, Health Class and Dib and Dob and the Journey Home9+G%!+0-#=1'-+!*08+U!7!:)$-%&$L!5"080'&"-+8'!+"#./0.1#2+#U5#-!%3#()+%-+4'-'2'+'-2+'5+5*#+V0*-+G0>!#1'-+:*#'5.#+4#-5.#+0-+:*#'5.#+O08+%-+D'-*'55'-9+G%!+"(')!+*'3#+.#$#%3#2+5*#+4*'(1#.!+A8'.2+58%$#+'-2+5*#+<0.'+A8'.2+/0.+W>5!5'-2%-;+K.02>$5%0-+/0>.+5%1#!9+N0.+4B4+O'2%0@+<'3%2+$.#'5#2+'+&%/5)=0-#+"'.5+!#.%#!+/0.+D0.-%-;!%2#+,'!#2+0-+*%!+!5';#+"(')+Booster Crane, P.M9+'-2+/0.+D#5.0+D0.-%-;+*#+$.#'5#2+'+XF=#"%!02#+!#.%#!+5%5(#2+The Diamond Lane9+MWT+1';'R%-#+*'!+$'((#2+<'3%2+79+4.'%;@+Y0-#+0/+5*#+50"+58#-5)+"(')8.%;*5!+%-+4'-'2'9Z+

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A CHAT WITH CHRIS WALKER, SOUND DESIGNER

Please tell us a little bit about your working process.

My job as a sound designer is to put together all the sound elements for a play. That means I write and record the music and create the sound effects you hear.

9%&"$F$80/,-$/&!#$!$7:!1@$F;)$"6-$/&!::1$-/10"5$-6$805B/&$6B-$<%!-$it sounds like—not right away. Of course what I’m eventually going to have in my head is the combination of environmental ,6B"#,$N,-/&&-$"60,&,@$<0"#@$/!,70"5$,!"#$6"$,-6"&O$!"#$)B,0'C+B-$"6-$/05%-$!<!12$D-$80/,-$F$VB,-$<!"-$-6$*"6<$<%!-$-%&$show feels like, how it hits me emotionally. After reading it a couple times maybe then I’ll have an idea of the sound, and after

I talk with the director, then I’ll REALLY know a lot more and I’ll start to put together a rough #&)6$6.$-%&$,'6/&$N-%&$)B,0'$.6/$-%&$7:!1O2$

But hands down the most important thing for me is listening to the actors say the words. For )&$-%&/&$0,$"6-%0"5$)6/&$B,&.B:$-%!"$-%&$80/,-$/&!#G-%/6B5%$6.$-%&$7:!12$W"'&$F$%&!/$-%&$,6B"#$6.$the words coming out of the actors’ mouths, then, and only then really, do I fully know what the show is going to sound like. How the music of their voices is going to combine with my sounds and music…then I know the feel that we’ll bring to the stage together.

What is a particularly interesting or unusual challenge on this project, and how are you setting out to solve it?

W"$-%0,$7/6V&'-$F$-%0"*$-%&$)6,-$0"-&/&,-0"5$-%0"5$0,$-%&$'6"8:0'-$+&-<&&"$-%&$/&!:$<6/:#$!"#$the fantasy worlds that the characters get caught up in. The tricky thing is not to wallow in the grim part of real life…I tend to go there easily. But in this play there’s a lot of happiness, love, excitement and energy. My job is to help bring that out with the sound and music.

Currently I’m planning on having almost two separate kinds of scores. Different instrumentation <0::$%&:7$-%!-I$.6/$0",-!"'&@$)!1+&$<%&"$<&;/&$0"$/&!:$:0.&$0-;,$6":1$6"&$0",-/B)&"-$7:!10"5$-%&$music, like a piano. And then when we’re in the various fantasy worlds perhaps we’re using a full orchestra for music, or at least a small band—something that’s a difference from the solo instrument of the “real” world. At least that’s what I’m thinking right now.

What in your childhood got you to where you are today?

My Dad played the piano, my Mom played the piano and the violin. They were musical and they wanted me to be musical, so they started me on piano lessons at age seven. I took to it big time. At nine I started playing clarinet, and at ten, guitar. I loved all of it. Oh, and I also started composing almost immediately, really from age seven on.

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In high school people started commenting to me that the music I composed would remind them of things. They’d say “Oh, you must have been thinking about this when you composed that piece.” They never got it right, because I was never particularly thinking about any one thing, but F$/&!:0H&#$-%&$)B,0'$F$)!#&$7B-$70'-B/&,$0"$7&67:&;,$)0"#,2$E6$F$805B/&#$F$,%6B:#$56$<0-%$-%!-CF$should make music for visuals. Film, theater, dance—that’s what I’m good at scoring.

F$#&'0#&#$-6$56$-6$!"$!/-,$'6::&5&$NJ6/"0,%O@$!"#$)!V6/&#$0"$J:!,,0'!:$X0!"6$X&/.6/)!"'&2$W"'&$there I started composing music for the theater department, and over the next four years I started designing more and more shows outside of college. By the time I graduated, I had enough of a reputation that I was able to move right into a job running sound and scoring shows for the Intiman Theatre. And that began my professional career.

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MAKE SOME THEATRICAL NOISE

46<$#6&,$-%&$,6B"#$6.$&!'%$6.$-%&,&$0",-/B)&"-,$)!*&$16B$.&&:Q$

Trumpet Big drumViolinKazooPianoBell

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Bus ride Hospital visitBoring phone conversationRaccoon attackHockey gameDream Class at schoolSnowstorm

Pick your favorite of those actions and decide what non-musical sound effects you would add to 16B/$)B,0'$-6$'6)7:&-&$16B/$,'6/&2$9%!-$6-%&/$0",-/B)&"-,$<6B:#$16B$!##Q$

Using just your voice and body, act out the sound and the music you imagine.

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ABOUT THE SET

From Carol Wolfe Clay, Set Designer

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Even though this play is called Danny, King of the Basement, we never actually go inside the basement. The play takes place mostly outside, where Danny is most comfortable. But his basement home is a very real and very big part of the play. So, for me, the design challenge was to create a three-dimensional and real-looking group of homes on stage, but at the same time leave lots of open space where Danny and Penelope and Angelo could imagine and the story could be told.

I started by looking at pictures of city neighborhoods and pictures of streetcars, wet streets !"#$'6"'/&-&$.6/$0",70/!-06"2$F$<!"-&#$-%&$8:66/$!"#$-%&$,*1$-6$:66*$7!0"-&/:1@$:0*&$!$'!"=!,$.6/$

Danny’s imagination, and I wanted the group of homes to look solid and strong but also a bit mysterious. Rita Giomi, the director, wanted to make sure that it was clearly a place in a city, not in the country, and that it looked familiar, like it could be one of our own neighborhoods. We chose brick for the buildings, concrete steps and metal railings to help with this.

Picture of homes on Clinton Street in Toronto, which inspired some aspects of the set design

This picture of a streetcar on a wet city street provided a number of design ideas, 0"':B#0"5$!##0"5$,%0"1$7!-'%&,$-6$-%&$8:66/

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It was a challenge to create three complete homes on stage in such a small space. If you look, you’ll notice there isn’t much room around the windows and doors. I played with %&05%-$'%!"5&,$-6$%&:7$#&80"&$-%&$

spaces. I added a tiny window in Danny’s apartment as mentioned in the script, gave Penelope’s window more of a formal look with black lacquered details and made sure to give Angelo’s house a big window so we could see his “dino dad.” I used some real and some painted architectural detail in order to pack a lot into a little space and to keep a balance between the realness of the buildings and the imaginative painted ,*1$!"#$8:66/2$$

It was fun to design the houses as such a close little group with multiple /668:0"&,$!"#$!"5:&,$!"#$=!/0&#$

architecture. It was even more fun to 7!0"-$-%&$'6:6/.B:$'6"'/&-&$8:66/$!"#$

the sky with a shadowy city skyline!

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Model of the set

Technical drawing of Penelope’s house showing where three-dimensional bricks and trim will be added to the painted ones

ABOUT THE COSTUMES

From Rose Pederson, Costume Designer

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This is very challenging to show with costumes because kids from different backgrounds tend to wear clothes that all look very much alike.

I looked through many magazines, searched the Internet for photos of children who are &>7&/0&"'0"5$%6)&:&,,"&,,$!"#$=0,0-&#$,'%66:,$-6$,&&$<%!-$7&67:&$<&/&$<&!/0"5@$-/10"5$-6$80"#$

unique elements.

It seemed a good idea to choose Danny’s clothes from a thrift store, since that’s where he would get them and they would be less current. Also his clothes are a little big to show he doesn’t have the option to get anything he wants and that his Mom is not necessarily paying enough attention to him.

Angelo’s family has more money and more current clothes, so he has the choice to wear sports gear and clothes depicting his favorite sports team.

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costumeD"5&:6;,$80/,-$'6,-B)&$,%6<,$

what he wears home from hockey practice

Angelo’s second costumeDanny’s second costume. The actors change costumes several times during the play to help us understand the passage of time.

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Penelope gets the most of what she wants. She has more clothes and newer popular clothes, along with a fresh expensive haircut from a salon.

One of the most exciting challenges was finding a way to costume Penelope’s mother in a way that would keep her as mysterious and invisible as Danny’s and Angelo’s fathers. So the director and I researched images of women in clothes that almost swallowed them up.

When I dress, I want to make sure I am wearing the clothes and the clothes are not wearing me. In Penelope’s mother’s case we wanted her to be unreachable, so we wanted her clothes to take over, make her almost a non-person, so busy in herself that we don’t actually see her—the same way she doesn’t really see Penelope.

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She will be wearing her new coat over this dress.

Penelope’s second costume

Penelope’s mother is hidden by the clothes she wears

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The greatest thing is that Danny’s clothes may be the least interesting, but with his imagination he turns even his very plain jacket into something magical.

NO PLACE TO CALL HOME

When people hear the word “homeless,” most still think of the more visible faces of homelessness—people standing at highway on-ramps, or those who sleep under bridges 6/$6"$7!/*$+&"'%&,2$D$%6)&:&,,$7&/,6"$0,$:&5!::1$#&80"&#$!,$!"$0"#0=0#B!:$<%6$:!'*,$!$80>&#@$

regular and adequate night-time residence or a person who resides in a shelter, welfare hotel, transitional program or place not ordinarily used as regular sleeping accommodations. The P2E2$A&7!/-)&"-$6.$K#B'!-06";,$#&80"0-06"$0"':B#&,$'%0:#/&"$!"#$16B-%,$(<%6$!/&$,%!/0"5$-%&$

housing of other persons due to loss of housing, economic hardship, or similar reason.” Families with children represent nearly half of the homeless people in Washington state. These are the 0"=0,0+:&$.!'&,$6.$%6)&:&,,"&,,I$7!/&"-,$!"#$'%0:#/&"$(#6B+:0"5$B73$<0-%$.!)0:1$6/$./0&"#,@$:0=0"5$

out of their cars or in motel rooms, or moving in and out of shelters.

Homeless families with children struggle to navigate a complex web of support and service providers to get help and access to stable housing. If a family becomes homeless in Washington state, they must look for help by contacting many different service agencies for different kinds of assistance. Since few services are coordinated, it is hard for families to even know what kind of help is available, and harder to get into a permanent home. During the 2009–2010 school year, -%&$W.80'&$6.$-%&$EB7&/0"-&"#&"-$6.$XB+:0'$F",-/B'-06"$0#&"-080&#$"&!/:1$RR@YYY$%6)&:&,,$'%0:#/&"$

attending public schools in Washington state.

Families become homeless for many reasons. Today’s weak economy means that more families experience unemployment, lower incomes, and housing foreclosures. Other factors—such as domestic violence, medical crises, and mental health or addiction issues—also make families vulnerable.

14


Whatever the cause, homelessness has a profound impact on a child’s health and education. The constant movement and disruption associated with homelessness means that too many children are forced to move from school to school. National Alliance to End Homelessness research /&=&!:,$-%!-$7/680'0&"'1$/!-&,$.6/$%6)&:&,,$'%0:#/&"$0"$/&!#0"5$!"#$)!-%$!/&@$6"$!=&/!5&@$Z[$

percent lower than the scores for all students. Homeless children have twice as many learning disabilities and three times as many emotional and behavioral problems as children who are not homeless. Half of school-age homeless children experience anxiety, depression, or withdrawal. Fewer than one homeless child in four graduates from high school.

Preventing and ending family homelessness will take the continued commitment of partners in 56=&/")&"-@$"6"7/680-,@$!#=6'!-&,@$-%&$7/0=!-&$,&'-6/$!"#$7&67:&$0"$.!)0:0&,$-%!-$!/&$/&'6=&/0"5$

from homelessness. It won’t be easy. But our communities will be stronger when we break the cycle of poverty and crisis that can lead to family homelessness across generations.

Excerpted and used by permission of the Gates Foundation %--7I\\<<<25!-&,.6B"#!-06"26/5\-670',\X!5&,\%6B,0"5G%6)&:&,,"&,,2!,7>

TO GET HELP CONTACT:

Washington Information Network 2-1-1

An integrated system for people to call for health and human service information and referrals and other assistance to meet their needs.J!::I$RGZGZ$

or 206-461-3200800-621-4636 Toll Free206-461-3610 TDDOr search the website for resources at %--7I\\<<<2/&,6B/'&%6B,&20".6\9FURZZ

King County 24-Hour Crisis Line:

ZG][[G^JTFEFE$NZG][[G^R_G^_^_O

15

EKDMM`K$J4D``KUaK$DUA$PTbDU$X`PUaKI$KcXKTFKUMFD`$

AND SERVICE LEARNING ABOUT URBAN POVERTY

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experience called the Seattle Challenge. For three days they walk through the city, visit agencies and organizations that provide help to people who may be without money, food, or a place to stay, and work for local social service agencies. They are asked to feed themselves for a day on a two-dollar budget. At night, they sleep in simulated shelters.

The program allows students to experience some of the feelings of frustration and discomfort that many members of our urban community cope with on a regular basis. They also learn about the resources available to help people.

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their experiences. When they are asked to express what they felt they learned during the three-#!1$-/07@$,6)&$'6))6"$-%&)&,$&)&/5&I

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to be homeless.d$ M%&1$:&!/"$-%!-$:0.&$'!"$56$6"$!"#$-%&1$'!"$:&!/"$!$:6-$,0)7:1$+1$"6-$!:<!1,$+&0"5$!/6B"#$!$

familiar social group of family and friends.d$ W"$-%&$6-%&/$%!"#@$-%&1$!:,6$5!0"$!$"&<$!"#$0"'/&!,&#$!77/&'0!-06"$6.$-%&$:0.&$-%&1$%!=&@$

learning especially to value their education and relationships.d$ M%&1$:&!/"$-%!-$7/0=!'1$0,$!$50.-@$<%0'%$7&67:&$<0-%$"6$%6)&$#6$"6-$%!=&@$<%&-%&/$0"$

shelters or on the streets.d$ M%&1$.&&:$7/0#&$0"$*"6<0"5$-%!-$-%&1$'!"$&"#B/&$<0-%6B-$-%&$B,B!:$'6).6/-,$6.$:0.&2

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physical work.

One SAAS 8th grader said, “I will never look at the streets of Seattle the same way again.”

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–from, Danny, King of the Basement by David S. Craig

16


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experience that takes place during Christmas and Spring Breaks, is designed to give SPU students a taste of what it is like to live without a home and what resources are available to people in Seattle who do not have one. Nights are spent sleeping in a downtown church. During the day participants walk the streets, learn from representatives of local social service agencies, and experience some of the challenges that homelessness brings.

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Of course, programs like Urban Plunge do not mean that participants have experienced homelessness. As one participant in an Urban Plunge put it, “Urban plunging to experience homelessness is like shoveling a sidewalk to experience Eskimo. No one becomes homeless +&'!B,&$-%&1$%!=&$,6)&-%0"5$-6$5!0"$./6)$-%&$&>7&/0&"'&23$E'6--$e!'*,6"$!5/&&,I$

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17

I WANT TO HELP

You don’t have to be rich to help someone who has no home. Think about all of the things that you need during the day, and all the things you like to do. Kids who may not have a home right now "&&#$!"#$:0*&$-%6,&$-%0"5,@$-662$D::$16B$"&&#$0,$7&/)0,,06"$./6)$!$7!/&"-$6/$-&!'%&/$-6$5&-$,-!/-&#I

d$ `66*$-%/6B5%$16B/$':6,&-$.6/$':6-%&,$-%!-$16B$#6";-$<&!/$!"1)6/&2$E%&:-&/,$7/6=0#&$temporary places for people to stay and welcome most donations. Make sure the clothes are clean and in good condition before you donate them.

d$ M%&/&$!/&$)!"1$6-%&/$-%0"5,$16B$'!"$'6::&'-$./6)$.!)0:1$!"#$./0&"#,$-6$#6"!-&$-6$!$,%&:-&/I$o toys, games and sports equipment o gently used bookso unused shampoo and soap—sample-size ones are good, tooo good used coats are always needed

d$ M%0"*$6.$,6)&-%0"5$16B$:0*&$-6$#6$6/$%!=&$!$,7&'0!:$-!:&"-$.6/$-%!-$16B$'!"$B,&$-6$&!/"$,6)&$money. If you like to cook, have a bake sale and give the money to a shelter. Maybe you and your friends could put on a talent show in your neighborhood, or offer to walk your neighbors’ dogs to make some money to donate.

d$ D,*$16B/$7!/&"-,$-6$%&:7$16B$7:!"$!"#$,&/=&$!$)&!:$!-$!$,%&:-&/2$E6)&-0)&,$16B$'!"$#6$something as simple as make sandwiches to take the people living there. Check with the ,%&:-&/$80/,-$-6$,&&$<%!-$-%&1$"&&#2

d$ f6/$16B/$"&>-$+0/-%#!1$7!/-1@$0",-&!#$6.$!,*0"5$.6/$7/&,&"-,@$70'*$,6)&-%0"5$16B;#$:0*&$everyone to bring that you can donate to other kids, or ask your friends and family to bring canned food that you can give to your local food bank.

d$ E&&$0.$16B/$':!,,$6/$,'%66:$'!"$6/5!"0H&$!$7&""1$#/0=&$-6$/!0,&$)6"&1$.6/$!$,%&:-&/@$!$'!""&#$.66#$#/0=&$-6$%&:7$*&&7$-%&$.66#$+!"*,$80::&#@$6/$'6::&'-$,'%66:$,B77:0&,$.6/$*0#,$<%6$"&&#$them.

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But the most important thing you can do to help is to be kind to other kids. You can’t tell just by looking at someone whether or not they have a home and you never know what someone else’s life is like. No matter what they might be struggling with privately, they are still kids and need the same things all kids need—friends, a safe place to play and learn, encouragement, fun and respect. Treat everyone the way you would like to be treated.

18

TALK YOURSELF INTO IT

In Danny, King of the Basement, Angelo feels like a loser because he has a hard time scoring goals in hockey. Danny asks him why he can’t score.

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Penelope has the right answer. When anyone else calls Angelo a loser he gets mad, but he says -%&$,!)&$-%0"5$-6$%0),&:.$!::$-%&$-0)&2$9%1$#6&,$%&$#6$-%!-Q$

Our brains are trained by what we think, and what we think changes the way we feel. If we always think negative things about ourselves, our brains get stuck that way. They freeze. Every time you tell yourself, “I can’t. It’s too hard. I don’t know how.” you’re teaching your brain to believe that. Yes, sometimes you make mistakes and you don’t win every game you play, but that doesn’t make you stupid or a loser. It just makes you human. Part of growing up is learning to focus on your strengths and to accept and work on your weaknesses.

Here are some good ideas from kidshealth.org about ways to unfreeze your brain.

d$ Make a list of the stuff you’re good at. It can be anything from drawing or singing to playing a sport or telling a good joke. If you’re having trouble with your list, ask your mom or dad to help you with it. Then add a few things to the list that you’d like to be good at. Your mom or dad can help you plan a way to work on those skills or talents.

d$ Give yourself three compliments every day. Don’t just say, “I’m so 5/&!-23$b&$,7&'080'$!+6B-$,6)&-%0"5$566#$!+6B-$16B/,&:.@$:0*&@$(F$<!,$!$good friend to Jill today” or “I did better on that test than I thought I would.” While you’re at it, before you go to bed every night, list three things in your day that really made you happy or that you feel thankful for.

d$ Remember that there are things about yourself you can’t change. You should accept and love these things—such as skin color and shoe size—because they are part of you.

d$ When you hear negative comments in your head, tell yourself to stop. Sometimes we #6";-$/&!:0H&$-%!-$<&$!/&$,%0.-0"5$./6)$805B/0"5$6B-$%6<$-6$#6$,6)&-%0"5$-6$-&::0"5$6B/,&:=&,$we can’t do it. When that happens, remember that list of things you’re good at. Whether you !/&$:&!/"0"5$!$"&<$,*0::$N*!/!-&@$#!"'&@$!$)B,0'!:$0",-/B)&"-O$6/$5&--0"5$+&--&/$!-$,6)&-%0"5$you know how to do, it helps to get your brain on your side.

You can do it. Show your brain who’s boss.

19

WORDS & PHRASES THAT MIGHT BE NEW TO YOU

:*%!+%!+'+;002+0-#@+<'--)@+&%.!5+$('!!@+blue chip@+!0(%2+;0(2. – excellent. The term “blue chip” comes from the stock market and refers to companies that are reliable and less likely to cause investors to lose money.

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D)+dogs+'.#+!0+!0.#@+5*#)I.#+,'.L%-;9+HI1+bagged9+:*#+,';I!+,';;#29+T#I.#+,05*+,';;#29dogs – feetbagged – exhausted

:*%!+%!+'+code red9+HI1+(0!%-;+"08#.9 – emergency alert

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Ryan Kesler – American professional ice hockey center for the Vancouver CanucksJackie Chan – a Hong Kong-born Chinese stuntman, actor and director whose stunts made %0)$!"$!'-06"G80:)$,-!/$

HI1+5.)%-;+50+20 Grand Jete+'-2+D'2'1+!')!+VITE_+?H:`_+?H:`_+A-2+H+;#5+!0+/.#'L#2+H+e>1"+(%L#+'+/.0;9Grand Jete – big leap. This French ballet term refers to a long horizontal jump, starting from one leg and landing on the other.VITE – quick. A French word.

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:.>5*@+<'--)9+True blue. – faithful and loyal

J0>+L-08+8*'5+)0>+;#5+8%5*+'+*>-2.#2+K#--)!\+A+Loonie9+Angelo is making a joke using two meanings of Penny. It’s short for Penelope but also means one cent. 100 cents make a dollar. The Canadian dollar coin has a picture of a loon on it so it’s sometimes called a Loonie. Loonie is also short for lunatic, which means crazy. So 100 pennies is a dollar, but 100 Pennys would be crazy.

<AMMJ[+T*0+'1+H\+AMQ`CW[+J0>I.#+Crosby9

Sidney Crosby – Canadian professional ice hockey player who is captain of the Pittsburgh Penguins

20

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21

Danny, King of the Basement

Classroom Activity: Imagination and Creative Play

! ! ! ! ! ! ! !

!"#$%&'(%)!"#$"%&'"(#))*'"+,"-"!"#$%&'(%&)*)'#$%+%'+,-%./"0&%*0&&)-/(%+11)+'*2!

Imagine & Create

Sitting in a large circle, invite students to picture a rain cloud in front of them. Together,

encourage them to describe what they see: what color are the drops and how do they

move? Are they sharp, fluid or unpredictable? Do they fall, pop or glide? What shape are

they? Are they blue, silver, white or clear? Create a picture as a group, not only seeing

the rain but feeling the coolness and relief it brings to the hot environment.

Experiment & Empower

Once a mental picture has been established, invite the students to individually create the

!"#$%&'()*+"#%,-#)#./&)#o spread out through the room and visualize the way their own

rain cloud expands and morphs. Lead the students to physically embody the raindrops

themselves, as well as the cloud, starting by breathing and making sounds and eventually

moving their bodies. Is each cloud slow or fast, high or low, fierce or peaceful?

Encourage the students to experiment with different levels, sounds and gestures. Using

musical or sound effect accompaniment can help them explore different types of

movement.

Reflect

Instruct #./)"#,0/+#")#$)1%20,2334)233$5)#./6%)!"#$%&"()#$)3/""/+7),+#63)#./4)/829$%2#/')

Students physically and vocally embody this shift. Once the exercise has run its course,

let the students share their experience. Ask them to describe their rain cloud: what color

was it? Was it fast or slow? High or low? What were some similarities between their

creations and their classmates? What did they find funny, strange or exciting?

22

BOOKLIST

For Children & Young Adults:

Fiction:

B#$01%-;+M'01%+C#f-+

Pam Muñoz Ryan

G08+50+75#'(+'+<0;

Barbara O’Connor

Extra Credit

Andrew Clements

O'$*#(+7"%-#((%+K>-$*#2+D#+%-+5*#+N'$#

Paul Acampora

Wonder

R. J. Palacio

7'*'.'+7"#$%'(

Esmé Raji CodellWith the help of her unusual and amazing S-%$5/!#&$-&!'%&/@$E!%!/!$80"#,$-%&$'6B/!5&$-6$

reveal her true self.

!"#$%&'%"#(

:*#+`3#.)5*%-;+d%2!I+D0-#)+B00L[+N.01+7'3%-;+

50+7"#-2%-;+50+H-3#!5%-;+c+C#'.-+A((+',0>5+

D0-#)_

Diane Mayr

M#8+d%2@+M#8+7$#-#[+A+Q>%2#+50+D03%-;+'-2+

78%5$*%-;+7$*00(!

Debbie Glasser, Ph.D. and Emily Schenck

For Adults Working With Children

& Young Adults:

`+%!+/0.+`5*%$![+G08+50+:'(L+50+d%2!+',0>5+

D0.'(!@+?'(>#!+'-2+T*'5+D'55#.!+D0!5

Ian James Corlett

T*'5+5*#+T0.(2+`'5!

Faith D’Aluisio; photographs by Peter MenzelWhat does a week’s worth of food look :0*&$0"$e!7!"Q$F"$i&"1!Q$M%0,$'6::&'-06"$6.$

photographs shows families from all over the world, surrounded by a typical week’s worth of groceries, highlighting differences in nutrition and standards of living.

Booklist prepared by Lupine Bybee Miller,Seattle Public Library System

23

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24

32Story Drama: Ming Lo Moves the Mountain

Story Drama: Ming Lo Moves the Mountain

Progress Chart for Objective #3

After the lesson, reflect on the read aloud of the story. Make notations and comments on progress – did students meet criteria mid-way and/or at the end, what adjustments can be made to support students?

Formative Assessment Notations:

N = Needs additional instruction/support

Learning Objective: Make verbal connections to the story.

Assessment Criteria

Student

Mid-way through book:

Repeat the words, "move the

mountain," on cue; Match the demonstrated

tone and rhythm.

End of book: Repeat the

words, "move the mountain," on cue; Match the demonstrated

tone and rhythm. Comments

Theatre for Young Audiences Tour Syllabus THEA 265 3 CREDITS

“Children’s Theatre is one of the very, very great inventions of the twentieth century.”~Mark Twain

Instructor: Gillian McNally, Assistant Professor, Theatre Education

Time and Location: Tue/Thur 9:30-10:45 Crabbe 304 Office: Crabbe Hall, 303 Office Hours: Tue: 12-1:30, Thur: 1:00-2:30 E-mail: [email protected] Phone: 970-351-2597 Course Description: The Theatre for Young Audiences Tour class is two fold: 1. To learn about the history, literature and current practices of TYA and 2. To create a quality community engagement experiences for youth centering around the production of Jungalbook. Course Objectives:

1. Increase understanding of history and practice of theatre for young audiences. 2. Create quality resource guides and workshops for teachers and students at elementary schools.

Course Content: 1. Each student will take on a vital role in the community engagement activities of play for young

audiences. 2. Study the child audience through reading assignments and practical experiences. 3. Plan and implement a process to successfully reach area elementary schools. 4. Attend and participate in all school performances. 5. Create study guide for teachers. 6. Read a wide variety of children’s dramatic literature. 7. Research renowned TYA companies in the US. 8. Attend and analyze a live TYA play.

Course Requirements:

• Theatre for Young Audiences Reflection Paper: (20% of grade/200 points) At the end of the semester, students will write a thorough reflection paper on their experience in the course. Students will apply observations more widely the field of TYA.

• Attendance at a TYA Play: (10% of Grade/100 points) Students will attend a local TYA play and write a critique on the performance.

• Community Engagement Assignment: (20% of grade/200 points) Each student will be assigned a critical role for community engagement activities.

• Attendance/Participation: (10% of grade/100 points) This is a hands-on class and therefore your attendance is absolutely mandatory. During the first part of this class, it is essential that you fully participate in classroom discussions. It is your responsibility to make it clear that you have completed the readings. Your analysis and careful thought in discussion will reflect this. If you are late, it is your responsibility to make sure you get marked as present. If you are absent, it is your full responsibility to find out the work you missed.

• TYA Company Presentation: (10% of grade/100 points) Students will do a 20-minute presentation on a TYA company in the U.S.

• Children’s Dramatic Literature Readings: (30%/300 points)

• Pop quizzes: If needed, there will be pop quizzes on readings. The safest way to avoid this is to do the reading in the first place & participate in class discussions.

Method of Evaluation: Students will keep a journal in order to reflect on in-class participation. Students are expected to fully participate in discussions in class and in performances. Students will receive a letter grade. Students will also complete peer evaluations. 900-1000 points=A 800-899 points=B 700-799 points=C

600-699 points=D Below 600 points=F Required texts: -Theatre for Young Audiences: 20 Great Plays for Children by Dr. Coleman Jennings -Articles available online: -Historical Guide to Children's Theatre in America, by Nellie McCaslin

-Six Plays for Young People from the Federal Theatre Project by Roger Bedard -Theatre for Young Audiences, by Nellie McCaslin -International Guide to Children’s Theatre and Educational Theatre, Lowell Swortzell

- If at the end of a posting you see “lib”—this means the article is posted on the library website. To access these articles, go to http://library.unco.edu/. In the upper middle portion of the page, there is a tab that says “Reserves”. Enter my name or course number. It will prompt you to enter your name and bear number. Readings are listed by author. Click on the reading to view! -You will need to purchase a ticket to a production we will attend. Tickets are about $10-$15. COURSE POLICIES:

1. Attendance is mandatory. You are expected to attend and participate in each class, arriving promptly and staying until class is over. This course depends upon participation, and class work cannot be made up. If you are absent more than two times, your grade will be lowered by one full letter grade for each additional absence. Arriving late or leaving early twice constitutes one absence. If there is a severe emergency, contact me immediately and we will work something out. This policy is not flexible and you are responsible for any missed work.

2. Participation is mandatory and means more than just being alive with a pulse in class. Participation and involvement require concentration, thoughtful speaking and listening in discussions, respect for others in the group, cooperatively working in small groups, and a commitment to the class. Each day, participation points are assigned based on your effort. You will not receive participation points for days you are not in class. Participation points will also be deducted if you are tardy.

3. If you observe religious holidays that are not on the official UNC calendar which will interfere with your class attendance, please see Gillian before your absence. Religious obligations do not, of course, count as an absence.

4. No Late Work is Accepted. If you have a personal emergency that prevents you from turning work in on time, you must contact the instructor before the deadline to make other arrangements. Work will not be accepted if prior arrangements are not made.

5. Please type anything you turn in.

6. ‘A’ level work has evidence of critical and careful thought and time. Please proofread all work.

7. Academic misconduct, including plagiarism and other forms of cheating, will not be tolerated. If you choose to plagiarize, I will report your actions to UNC authorities and you will receive a failing grade.

8. No cell phone calls or text messaging in class. If you are caught text messaging during class, 20 points will be deducted from your grade. If you are expecting an emergency call, inform instructor at beginning of class and keep your phone on vibrate.

9. Communication: Throughout the course, the instructor may send you information via email. You will be responsible for t his information. Therefore, it is your responsibility to check email each day before class. You must check the account that you have through the university.

The material taught in this course meets the following Pre-K-12 Colorado Model Content Standards in Drama and Theatre: Standard 1 Create: The creation of drama and theatre is a demonstration of learned skills in forming new theatrical works, interpreting theatrical works for performance and design, and developing characters and analyzing roles.

Standard 2 Perform: The theatre process is a product of the knowledge and essential skills gained in the study of theatre toward the expression of the human experience in story, movement, speech, and staging for an intended audience. Standard 3 Critically Respond: An informed literacy, ethical judgment, and cultural research are key aspects of theatre arts study. Responding focuses on the artistic and scientific knowledge of conventions, cultures, styles, genres, theories, and technologies needed to know better choices and best practices. Disability Statement: Students who believe that they may need accommodations in this class are encouraged to contact the Disability Access Center 970-351-2289 as soon as possible to ensure that accommodations are implemented in a timely fashion.

Class Schedule

*Subject to Change, please stay in contact with instructor for changes*

Week One: What is TYA? 1/10: Ensemble Building, perceptions of TYA 1/12: TYA in the USA Due:

1. USA Chapter from International Guide to Children’s Theatre and Educational Theatre (p. 333-345) (on library site)

2. Children’s Theatre in the Federal Theatre Project (Heard) (on library site) Week Two: International TYA 1/17: International Perspectives on TYA 1/19: International Perspectives on TYA Week Three: Children’s Dramatic Literature (Plays are in your book, unless listed otherwise) 1/24: Due: Jungalbook (everyone) Guest: Andrea Moon 1/26: Due: Doors (A) (lib—in two sections—look under “Spit in One Hand”) and Arkansas Bear (B) Week Four: Children’s Dramatic Literature 1/31: Due: Tomás and the Library Lady (lib) (A) Bocón! (B) 2/2: Due: Hush, An Interview with America (A) and Yellow Boat (B) Week Five: Children’s Dramatic Literature/TYA Companies 2/9: Due: Afternoon of the Elves (lib) (A) and Getting Near to Baby (B) (on Blackboard) 2/11: Holes (A) (blackboard) and Charlotte’s Web (B) Week Six: TYA Companies 2/14: Due:

Children’s Theatre of Charlotte (Emily) People’s Light and Theatre (Ryan)

2/16: Due:

First Stage Milwaukee (Cassidy) Minneapolis Children’s Theatre (Brandi)

Week Seven: TYA Companies 2/21: Due:

Seattle Children’s Theatre (Savannah) Kennedy Center (Kyle)

2/23: Due: Childsplay(Nate) Nashville Children’s Theatre (Josh)

Metro Theatre St Louis (Eli) Week Eight: Study Guides 2/28: Due: research study guides from your assigned company. What makes a good study guide? Assigned reading posted on library site on study guides. 3/1: Brainstorm Community Engagement Activities Week Nine: Preparation 3/6: In class work 3/8: In class work SPRING BREAK Week Ten: Preparation for performance 3/20: Attend Snow Queen, Jewish Community Center, Denver 3/22: Discuss Snow Queen, Due: Play critique Week Eleven: Preparation 3/27: In class work 3/29: In class work: Practice Workshops in class Week Twelve: Preparation 4/3: Workshops: Frontier 4/5: Workshops: Frontier Week Thirteen: 4/10: Workshops (Greeley on Spring Break) 4/12: Workshops (Greeley on Spring Break) Week Fourteen: 4/17: Workshops 4/19: Workshops Week Fifteen: 4/24: Workshops 4/26: Performance day (shows at 10 and 12—you will be called 8-3 pm) *4/27: Performance Day (shows at 10 and 12—you will be called 8-3 pm) *4/28: Performance Day Finals 8-10:30 am Wed, May 2. Due: Final reflection paper

Children’s Dramatic Literature Review

For each of the six plays you read, turn in a document with the following important information. As a group (A/B), you will have the first 15 minutes of class to prepare a scene and 2 discussion questions to present to the rest of the class To turn in for each play (1-2 page description): (50 points/review)

1. Name of play: 2. Playwright: 3. Publisher: 4. Year 5. Overall rating: Excellent, Good, Fair, Poor 6. Plot synopsis 7. Analysis: What you liked, what you didn’t, why? How do you think this would work with young

people? Why?

8. Two discussion questions for the group. These should be open-ended questions where many opinions can be heard. (no “yes” or “no” questions)

Denver Children’s Theatre Play Critique Questions (also posted on BB under “assignments”)

1. Overall reaction: What did you think of the production as a whole? Production values? Direction?

Acting? Was it entertaining? Educational? Fun? Intelligent? Describe your reaction to the theatre going experience. What was going through your mind during the show? Apply what you’ve learned this semester in TYA to this experience. /30 points

2. The play: What is your opinion of the play? What age do you think this play is appropriate for? Do you think the author spoke to the audience with respect? Is it an engaging/well written piece? Why or why not? /30 points

3. Audience: How did the audience respond to this piece? (look specifically at the young people) When did they seem especially attentive? When were they figety? What was happening on stage that caused this? What is your response to theatre for young audiences? Why? / 30 points

4. Should be 1-2 pages in length. Proofread with attention to detail. /10 points Total: /100


Story Drama: Ming Lo Moves the Mountain

Description

Story Drama enhances classroom literacy and reading instruction by guiding students to embark on dramatic journeys throughout stories. Specifically, students enter the world of Ming Lo Moves the Mountain by Arnold Lobel to explore character, setting, conflict, and specific details. The book is read aloud and using improvisation, discussion, imagination, science and math concepts, students work together to solve a problem that is central to the story.

Grade(s)

3-5 – can be modified for younger and older students

Time

1 hour

Materials

• Book – Ming Lo Moves the Mountain by Arnold Lobel • Identify and understand the parallel problem • Open space for students to move • Scarves for all students to have one, a large sheet of paper, spray bottle,

ping pong balls, large sheet or blanket, talking stick

Preparation

• Review the “Story Drama Structure – a guide to developing Story Drama lessons” to gain a deeper understanding of the purpose and flow of the lesson.

• Prepare open space and wall space for posting a large sheet of paper

Resources

Teacher Resource: Story Drama Structure – a guide to developing Story Drama lessons (provided)

Matetzschk, Judy. (1997). An Introduction to Creative Drama, The University of Tennessee at Chattanooga: The Southeast Institute for Education in Theatre.

McCaslin, Nellie. (1987). Creative Drama in the Primary Grades. New York: Longman, Inc.

Author

Karen Sharp, Seattle Children’s Theatre


Student Learning

Assessment

Learning Objectives What I want my students to know and be able to do.

Assessment Criteria What I will observe in my students.

Understand story elements including character, setting, conflict, and specific details through dramatic explorations.

Use gesture, tableau and vocal expression to depict objects, characters, and action.

Reflect on the details of the story through words, statues, gestures, and/or discussion.

Identify science and math concepts related to the story.

Using voice and body to depict math concepts to solve a dramatic problem.

Gain a deeper understanding of how literature connects to their lives.

Make connections between the conflicts in the story and parallel situations in their own lives.

Develop collaborative problem solving strategies.

Develop solutions to story problems through discussion, movement, statues, tableau, and dramatic actions; Discuss, create, and revise to include ideas of others.

Vocabulary

Theatre

action, character, freeze, gesture, problem, sensory expression, statue, tableau, vocal expression

Subject

Reading: character, environment, problem, setting, specific details, theme

State Standards

Theatre

1. The student understands and applies arts knowledge and skills. 1.1 Understand arts concepts and vocabulary, specifically, identifies and describes

characters, setting, actions, conflict, sounds and main idea within a scene/play. 1.2 Develop arts skills and techniques, specifically, selects and uses vocal qualities,

movements, and emotion in dramatic activities; and works within a small group to solve a dramatic problem.

Subject

Reading: 2. The student understands the meaning of what is read. 2.1. Demonstrate evidence of reading comprehension. 2.2. Understand and apply knowledge of text components to comprehend text.


INSTRUCTIONS 1. Transition Activity

Story Drama begins with a transition activity that is designed to ease students out of the world of the classroom and into the world of the story. This is an important ritual for making connections to the parallel problems as well as establishing future story drama times. If working with older students, move through steps 1-4 at a quick pace and spend more time with steps 5-9.

• Announce to the students that a man named Ming Lo is trying to design and build a new house, but he needs help. Ask if anyone has built a house before.

Sample Dialogue: My friend Ming Lo will be here soon. He is designing and building his own house. Has anyone ever built a house or seen a house being built? Good, because Ming Lo needs your help.

• Instruct students to create a tableau to show, with their bodies, what a house looks like.

Sample Dialogue: Using your bodies I will see a frozen picture of a house in 5-4-3-2-1. You are all busy being frozen pictures so I will tell you what I see. Some houses have pointed roofs some are low to the ground.

• Tell students that the house is a large sheet of paper. Hold up the paper and ask students where the new house should be built. Take an imaginary ride to a few places where they might like to build the new house – maybe by the ocean or in a Zoo? Activate some suggestions with students making tableaux. After each suggestion is activated tell them what a good idea it was, but that it won’t work because of an attribute of Ming Lo that they don’t know about. Guide students to realize that those places won’t work.

Sample Dialogue: It turns out that the Ming Lo’s house looks like this big piece of paper. But Ming Lo’s problems didn’t end there. He has no idea where to build his house. Where should Ming Lo build a house? Great – an ocean! (Students create a tableau of a house by the ocean.) Oh, I forgot! Ming Lo can’t swim – as lovely as this house is, it just won’t work. Where else should Ming Lo Build a house? How about next to a mountain?

• Tape the paper to the wall beside an imaginary mountain. Ask students to use their scarves to paint the house.

2. Parallel Problem and Transition to the Book

This is the beginning of the Story Drama journey. The parallel problem is introduced and students find their way to the book. At this point, all communication with students is done “in role” – everyone in the classroom is now part of the story.

NOTES


• As part of the Story Drama journey, set rules, limits, and control signals so students do not have too many decisions to face at once. Basic rules can help free students to be creative during dramatic play. For example, set a signal which freezes action and sound. See the Teacher Resource: Story Drama Structure for more examples.

Sample Dialogue: When I say 3-2-1 stop, everyone freezes in place—no words, no movement.

• Introduce the parallel problem to the students: A friend is trying to build a new house, but doesn’t know how and needs help. Tell students that everything is going wrong in the house. First, the rain comes through the walls. Spray paper with water.

• Tell students that snow and hail bounce off the roof. Throw ping pong

balls at paper.

• Ask students for other things that could go wrong with the house. Ask students to use their bodies and voices to demonstrate problems.

• Ask students how to move the mountain in order to enjoy the house in

peace. Connect their feelings to the book.

Sample Dialogue: Mountain! Whose idea was it to live by this mountain anyway? What should we do?

• Take all of the students’ suggestions seriously. Say “Yes!” as a group and then try out the ideas. Guide the students to realize that none of the ideas will work.

• Suggest to students that the whole class should travel to visit a wise person for advice.

• Introduce the travel ritual. Using suggestions from the students, develop a travel ritual such as a “travel blanket” and a phrase repeated in unison.

Sample Dialogue: Everybody grab hold of the sheet and say ‘Let’s go!’ to start our journey. And then we’ll all hold the blanket and count backwards from five and the wise person will appear. (Take on the role of the wise person.)

• Ask students to re-cap for the wise person all of the things that have already been tried to solve the problem.

• In the wise person role, tell the students to return to the house of Ming lo and everyone must try balancing and counting (science and math concepts) to impress the mountain to move once this is accomplished the sun will go down and the moon will come up and the mountain will move away.


Sample Dialogue: If one student can stand on one leg with their arms out while everyone else counts to 20, the mountain will be so impressed that it’s sure to move.

• Attempt the balancing and counting, reinforcing science and math

content. When the mountain doesn’t move, return to the Wise Person.

• Tell students that the wise person thinks that if a student can solve a math problem, then the mountain will move. Give students a math problem to solve in small groups. When the mountain doesn’t move, return to the Wise Person.

• Tell students that the Wise Person suggests returning to the mountain to

read a book about mountains moving.

Sample Dialogue: Let’s return to Ming Lo Moves the Mountain and listen to every word to see if we can figure out what to do next.

3. Story Time and Dramatic Play

Through reading and dramatic play, students gain a deep understanding of the story and work to solve the overarching problem and goal that has been set for the lesson.

• Read the story aloud to students. As the story is read, ask students

questions to make connections to the problem solving activities they have been engaged in and develop an understanding for the actual characters and dramatic conflict of the story.

Introduce the hook line. During the read aloud, use a repetitive word or sound for something that occurs in the story. Whenever it appears, have students repeat the hook line, “Move the mountain.”

• As soon as the story is finished, close the book and start the dramatic

play. This is an important moment of transition in which students must be swept up in the momentum of the problem.

Sample Dialogue: I’ll just give this book to the mountain and see if it moves.

• When the mountain doesn’t move, ask the students what they remember

from the book that might help. Guide the students to the dance of the moving mountain from the book.

• Tell students that they will gather up pieces of the house and step to the Dance of the Moving Mountain. Tear the big piece of paper into enough small pieces so that each student can hold a piece.


• Either select two students to dance or have the whole class move to the dance which is a backwards walk.

Sample Dialogue: We put our left foot in a place that is behind our right foot, we put our right foot in a place that is behind our left foot and we do this over and over again.

• Once students have moved away from the mountain, notice that the

mountain is now much further away. Re-assemble the small pieces of paper that each student is holding. Work together to re-create the house.

• Ask students to identify what is difficult about the new location.

4. Reflection

Story Drama lessons end with a transition out of the world of the play and back into the world of the classroom by having students reflect upon what they have dramatically explored in the story. If working with younger students end the lesson here. If the lesson will continue with exercises for older students, hold on a final reflection until the series of steps below are complete.

• Ask students to sit in a circle.

• Instruct students that they may only speak when they are holding the

“talking stick.” Pass a talking stick around the circle. When a student has the talking stick, they reflect on a character they met and/or who played that character.

• Ask students to find a spot in the room and freeze in a statue of the

“Dance of the Moving Mountain” and when tapped on the shoulder to say a sound or word that they remember from the story.

5. Hot Seating

The leader or a student is set in front of the group in role as a character from Ming Lo Moves the Mountain. The group questions the character, either as themselves, in role as a group with a particular relationship to that character e.g. reporters, neighbors, etc. or in collective role, representing one person with a particular relationship to that character e.g. the wife of Ming Lo.

• One student is in role as a character from Ming Lo Moves the Mountain.

• The other students ask the character story related questions.

• If the answer to the question exists in the story text the student in role must use the story to answer the question. If the answer does not exist in the text the student in role creates an answer using what is known or inferred about the character to answer the question. This may mean that the student creates a backstory to help answer the question.


6. Three Headed Expert Students take on the role of experts – whether architect, mountaineers, or explorers.

• Choose three students to become the three headed expert.

• The rest of the class asks Ming Lo Moves the Mountain related questions to the expert.

• The three headed expert has to answer the question one word at a time. The answer can end on its own or can end with the word “period” or “exclamation point.”

7. Three Questions Students engage in self generated questions and responses to gain a deeper understanding of the characters.

• Leader asks a student to come up with three questions about one of the characters from Ming Lo Moves the Mountain.

• Another student answers one of the three questions.

• Call on another student to answer one of the three new questions.

• This process is repeated several times.

• You can write the answers and the questions on a long roll of butcher paper and create a character reference visual for students.

• This can be repeated for several of the characters in the story such as Ming Lo, Ming Lo’s wife, the Wise Person and even the mountain.

8. Beginning, Middle, End Students practice sequencing by identifying events that represent the beginning, middle, and end of the story.

• Divide the class into groups of four to five students.

• Each group has 5 minutes to think of a sentence for the beginning, middle and end of Ming Lo Moves the Mountain as well as create a tableau to communicate each sentence.

• Each group will present their three tableaus.

• Discuss similarities and differences between groups with the same story.

9. Scenes That Aren’t There Much like non-linear time, students create improvised scenes that might have occurred between those that happen in the written story, using the same set of characters, setting and given circumstances.

• Divide class into groups of four or five students.

• Ask each group to create a scene from Ming Lo Moves the Mountain that was not in the book. Specify if the scene should take place before the mountain is moved.

148Story Drama Structure

Story Drama Structure – a guide to developing Story Drama lessons Story Drama lessons are developed by selecting an appropriate story and creating dramatic play within that story using the Story Drama Structure outlined below. The structure contains some information from An Introduction to Creative Drama, the University of Tennessee at Chattanooga interwoven with ideas based on classroom experiences. Selecting Stories When selecting Story Drama books, look for a mix of stories with the following elements: • dramatic conflict – a plot with a clear problem • specific locale, setting, environment • repeated lines • sensory opportunities • mix of boy and girl characters or heroes • can be read quickly • quality literature • appeals to the leader and students Pre-Planning Prior to engaging in the Story Drama lesson, make decisions about the items below. • Invent a parallel problem to the problem in the story – students explore this problem prior to

reading the story • Set a goal for learning based on a theme in the story – this is revealed after the story is read

and is explored through the dramatic play that follows • Create activities for the Story Drama journey beginning with the “Transition Activity” through

“Reflection” Story Drama Structure Transition Activities: Story Drama begins with a transition activity that is designed to ease students into the world of the story – making connections to the problem and acting as a ritual into the story drama time. Transitional activities may involve an art project or meeting one of the characters, which is played by the leader. Space: Take time to set up the space for the dramatic play before students arrive – lay out materials, play appropriate music and/or arrange the furniture – set the scene. Arrange the room so that students have an adequate amount of space in which to move freely and comfortably. Another option is to keep the classroom set up as usual and create the story around the classroom environment. Some examples of transition activities:

1. Create individual pictures or pieces of art related to something in the story. Use materials that will bring out connections with the story like chalk, glitter, paper, pens,


crayons, feathers. Students use the materials to create a personalized piece of art based on a topic, idea or theme in the story. Students’ title their art work and present to others who respond with, “Ohhhh, Ahhhh. What a masterpiece!”

2. Meet characters that are in similar situations from the story. The leader and/or assistant are in-role as characters and dialogue with students through questions and ideas related to the story.

3. Play music to establish the mood for the ensuing activities. 4. Create a large map or collage of the setting with butcher paper on the wall or floor. 5. Use clay to create a character, setting detail or emotion from the story. 6. Explore the physical environment of the story with movement. 7. Personalize the problem in the story. For example, if the character in the story is going to

build a house, tell the students that you have a friend who is building a house and they need our help imagining what a house looks like and where a house should be built.

Parallel Problem: After the transition activity, begin the Story Drama journey through the warm-up/motivation. During this warm-up/motivation students and leader try to solve the parallel problem, but nothing works. A parallel problem is invented by the leader and matches the problem in the story. Through the warm-up/motivation students make connections to the plot and problem of the story. Guide students to develop physical movements, actions, and use vocal expression or other sensory expression that relate to the theme, characters and dramatic conflict as they try to solve the parallel problem. Introduce “hook lines” – usually words or phrases written repeatedly in a story. Space: Define where in the room action can happen. Mark the space in some way – by pointing or walking, masking or plastic tape, chairs, etc. Set “off limits” areas to avoid problems with fragile objects and distractions. Controls/Rituals: Set rules, limits, and control signals so students do not have too many decisions to face at once. Basic rules can help free students to be creative during dramatic play. • Set a signal which freezes action and sound. For example, “Freeze”, 3-2-1-Stop, drum beat,

lights on/off, hand clap. • Set a signal to focus the students’ attention. One technique is a call and response signal

where the leader says, “Focus” and students respond, “Check”. Vary the volume, pitch or expressiveness of “Focus” and the students respond with the same quality with “Check.” Another technique is for the leader to say "Hocus Pocus" and the students reply "Focus."

• Set a signal to create a sitting or standing circle. For example, short song that fits with story, count backwards from 5-Zero, a phrase that is a call and response.

• Set a signal for students to move in “slow motion” in order to control action if necessary. • Set limits regarding personal interaction. For example, no one touches another person or

any object in the room unless instructed to do so by the leader as part of the activity. • Create a travel ritual that will take you on an imaginary ride to visit other characters or

environments. Some examples of a warm-up/motivation:

1. You have presented the problem now you try to solve it. 2. Have a “story drama meeting” with the students where you try some of their suggestions. 3. Use tableaux as a way to see if solutions will work. 4. In-role, the leader becomes different experts who help the group try different solutions.


5. After you try several problem solving techniques you will need to visit the person who will recap what you have done and drive you to read the story.

Transition to the Book: Use the act of reading a story to find out how to solve the parallel problem. The idea for reading a story may come from the leader, students or the leader in-role as a character. This realization is the transition to reading the book. Some examples of how to transition to the story:

1. Create a recurring character that recaps what has been tired and suggests reading or listening to a story that will help solve the problem. For example: • Go to a wise woman who recommends reading the story. • Go to the mailbox and find the story.

Story Time: Read the story aloud to students. Using listening skills and imagination students enter the world of the story. As the story is read, students make connections to the problem solving activities they have been engaged in and develop an understanding for the actual characters and dramatic conflict of the story. Use a repetitive word or sound. Create a hand signal for the students to repeat the word or sound as the story is read. The basic dramatic structure for Story Drama focuses on theatre’s 5 given circumstances:

• Who: characters • Why: motivation (what the characters want) • What: action (what the characters do) • Where: setting • When: time

Dramatic Play: The leader guides students to solve the overarching problem in the story and explore the goal set for the lesson using new movements, voice and collaboration skills. One option is to use point of view and go in-role by portraying characters in order to make the story unique to the class. Students may work individually, in pairs or in groups at different points during the dramatic play. The moment the story is finished, the leader closes the book and immediately re-starts the dramatic play. Dive into the dramatic play as students explore the goal set for the lesson. For example, in the book “The Rainbow Fish,” students explore sharing and how it feels when someone doesn’t share. Return to this goal when students reflect and are assessed on their learning.

Grouping: During the dramatic play, organize group work to fit the experience and skill level of the class: • Unison playing – all students working individually but at the same time – helps students

overcome feelings of self-consciousness. • Pair playing – all students working in pairs but at the same time – is a step toward building

group cooperation skills. • After working in unison and pairs, students will be able to work simultaneously in small

groups.


Reflection: Story Drama lessons end with students reflecting upon what they have dramatically explored in the story. It is an interactive sharing experience that transitions students out of the dramatic play and closes the lesson. This interactive reflection helps students establish deeper comprehension of the story’s characters, setting, problem and theme and can be used to evaluate the Story Drama lesson goals. Some examples of Evaluation/Reflection:

1. Students sit in a circle or are set-up in a sharing environment. 2. Pass around a “talking stick” and when the students have the stick they share what they

remember about the story. 3. Share a phrase and movement that represents the story – maybe this is the “hook line.”

When repeated, students are more likely to remember the book and the dramatic play. 4. Draw a picture of the conflict or resolution in the day’s adventure. 5. Discuss the story reinforcing vocabulary and concepts like main character, setting,

conflict or obstacle and resolution.

TYA IN CLASSROOM

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