Drama Assessment 1 PDF

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Drama A1...

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EDC-PAE161 PERFORMING ARTS FOR EDUCATORS REFLECTIVE PRACTITIONER: ARTS LEARNING DOCUMENTATION

Guidelines 1. When completing each section your aim is to ‘make visible’ how you are developing as an arts education practitioner. When highlighting what you learned through your own artistic experience aim to show how this experience sits within arts education principles (your readings/viewings completed for this unit). 2. Write short explanations (rather than using bullet points). 3. Write succinctly. The maximum words for any numbered section should be no more than 200 words (most will be less than this). 4. Use in-text citations and add references at the end of the document.

Name

Michael Comino

Module Date completed

EDC161 – Assessment 1 – Drama Reflection Practitioner 04/04/2018

1. The arts learning processes - what did you do? Make sure you use the relevant arts terminology. I.e., This is a simple explanation of the processes (all stages) for the Arts Making and the Arts Responding activities to provide a context for the rest of your statements.

After thoroughly reading through the assessment folder, I still wasn’t sure how to start this as it was daunting and overwhelming having more then one component for the same assignment. The oralstorytelling component seemed to be the easiest component as I had a clear vision of what I wanted my story to be about and after asking my tutor if my idea was okay, I wrote a script that became my first draft. Dinham (2017, p.36) defines this as the ‘illumination stage’ or stage three of the creative process. I left recording my story to the very last minute, so I could rehearse and develop the storyline using the elements. I wanted to captivate the audience and ensure they feel the emotions I felt during this journey. I knew that in order to achieve this, the moral of the story had to be prominent throughout. This is better known as the verification process or stage four. (Dinham, 2017, p.36). In component two, after much consideration and deliberation on which clip to analyse I decided to choose “Consider yourself.” Therefore suggesting the incubation period or stage two of the creative process was prolonged due to my indecisiveness and unfamiliarity of the elements. In retrospect,

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although very overwhelming at first glance this assignment has demonstrated the cultural importance of the Arts in terms of the significant role it plays in life and education .

2. The following list of the 8 studio habits of mind is abridged and adapted from Hetland, Winner, Veenema & Sheridan, 2007, Figure 1.2, p.6. It is a guide to the nature of learning in the arts. More information can be found online including here: http://www.everyarteverychild.org/assessment/studiohabits.html Where possible, insert a sentence describing how each of these featured in your own work process for the Arts Making and the Arts Responding activities. Develop craft

Making: Andrew didn’t tell us what to do. He gave us a set of

Technique: learning to use arts

expectations and instructions, leaving the rest to our own

language, conventions, styles.

interpretation. Hetland and Winner and Veenema and

Working respectfully with props,

Sheridan (2007) suggest this is an important step in

instruments and other equipment.

developing an artists mind. Also, we were shown when to use props to enhance the dramatic effect and how to avoid them if they had no meaning or would hinder our performance. Responding: The textbook contains all the correct arts language terminology that we needed to write component two. Alongside the terminology were definitions that helped

Engage & persist

instil an understanding of this terminology. Making: It’s important to note that through Andrew’s set

Embrace relevant problems, develop

expectations and instructions we were given the opportunity

focus and other mental states for

to approach the assessment with “optimal ambiguity” and

working & persevering.

form our own unique point of view which works as all students engage differently (Hetland, et al., 2007). Responding: After viewing components two and three and dreading the thought of even starting them, I decided to take

Envision

a walk, gather my thoughts and persevere through Making: Before even starting, I envisioned the creation of my

Mentally picture or imagine

oral storytelling video. Having a clear mental picture of what I

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possibilities and next steps.

wanted to say and how I wanted to deliver it I went on YouTube and watched a few of the previous students’ videos and wrote some notes before recording my own.

Responding: The director and producer of Oliver Twist would have had this idea of how they wanted the scene to come together using all the extras, Jack and Oliver. They would have rehearsed, gone back to the drawing board and shot this scene many times just to ensure the scene looked exactly

Express

how they originally envisioned it. Making: The aim of my oral-storytelling video was to evoke

Aim to create work that conveys your

emotion from the audience and get them to sympathise with

ideas, feelings or personal meaning.

me.

Responding: The emotions evoked from “Consider yourself” are trust and loyalty. These emotions are expressed by both the lyrics of the song and their meaning, as well as body

Observe

language and gestures used. Making: I started my video off with a character description

Attend to careful, considered

that intends to throw off the audience to think I am talking

looking/viewing/listening.

about a father figure whom I love. However, I end the video with me and my dog which gives the piece a creative tension (Hetland, et al., 2007).

Responding: I had to observe the movie Oliver and study the characters in order to grasp the plot and envision Oliver’s

Reflect

happily ever after. Making: In order to create the video, I had to rehearse my

Question, explain & evaluate your

lines and tweak the script again and again. Once my script

work.

was perfect I had to record it many times in order appreciate my own performance, therefore I exhibited a lot of selfevaluation and self-reflection to constructively criticized my work and find that delicate balance between my own feelings and the intersubjective agreement of audience (Hetland, et al., 2007). Responding: After they shot the scene, the producer and director would have carefully re-watched it to check if the

Stretch & explore

reflection is based on the mental images they envisioned. Making: I played around with a few movie maker sights before

Reach beyond limitations, explore

deciding to record myself on my iPhone. After what felt like

playfully, embrace opportunities to

the millionth time recording my story is when I finally decided

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learn from mistakes.

I’ve reached the verification process (Dinham, 2017, p.36).

Understand art world

Responding: Making: Hetland et al., (2007) states that an artist responds to

Learning about the domain of art (the

work that other people have made which is why I found it

world of art/arts history) and

important to watch previous students’ performances online.

participating authentically in arts

As this gave me an opportunity to connect with other students

making while understanding yourself

work and emulate similar results.

as being part of an arts community.

Summary

Responding: In summary, I have tried to delve deep into both the making

Reviewing the above, what do you

and responding components of this assignment. My thinking

observe about your thinking and

is somewhat transparent and backed up by the correct

actions in relation to your arts learning

terminology. I feel confident in how all three components of my assignment have come together.

3. Scaffolding your learning: What aspects of the study in this module (reading, videos, Arts Mates, BbC presentation, discussion, practice, further research etc) did you find most illuminating and beneficial for completing the Arts Making and Arts Responding activities for assessment – and why? It’s important to note that without Andrew’s instructions and expectations on how to produce a conventional oral-storytelling video, I believe many of us would have left some of the key elements of drama out of our performance. Therefore, the collaboratives have been beneficial in the sense that Andrew might say something and if we don’t understand we can ask questions and get answers in real time. Before starting component two, I was worried about understanding and retaining all the correct arts terminology needed to analyse the video however, after going back through our initial readings and searching the internet everything started to come naturally.

4. Describe two features of the arts language you employed in your Arts Making activity- and why. Make sure you use the relevant arts terminology. E.g., I created tension at the critical point of the story by pausing and then lowering my voice. This was to draw the audience’s attention to the next event in the story that represented the turning point.

There was creative tension present in my oral-storytelling video. This was unveiled when the audience found out at the end I was talking about my dog and not an older male family member.

The dynamics of the relationship between myself and the “Fifty-year-old character” change when

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the audience finds out I’m talking about my dog and not a fatherly figure. I would say I am the protagonist in the video because I make the decision to take him to the “doctor” and it was my decision to take him for a second opinion after the improper diagnosis. In spite of this, the story follows the tale of my dog’s recovery so therefore Dinham’s (2017, p.180) findings on the protagonist would suggest he is also the protagonist as the audience should be interested in how things turn out for him.

5. What is one insight gained (something you discovered) from completing the Arts Responding activity? Make sure you use the relevant arts terminology. This may be in relation to the subject or the curriculum or approaches to teaching etc.

I discovered the “role of the divergent thinker.” Dinham, (2017, p.36) suggest that key features of divergent thinking are: fluency or the ability to generate ideas. Flexibility or the capacity to see alternative possibilities and produce a different direction. Originality or the ability to produce a creative and unusual response, and finally elaboration or the ability to synthesise your ideas in order to find a solution. This whole assignment has required the role of the divergent thinker as I’m new to most of the terminology and quite insecure about performing however, I needed to work through these barriers to complete all three components.

6. Explain how these two Art Making and Responding activities exemplify contemporary arts education principles. I.e. With reference to your readings/videos/discussions, what features does your arts learning experience have that demonstrate some of the things you have been learning? For example, the strands in the curriculum, authentic approaches to arts education, how the arts are forms of meaning-making, elements of the arts languages etc.

We as students are learning new content and this will be passed on to our future students. Therefore, it’s important that we are provided with opportunities to see relationships, transfer and apply learning, and make connections between subject areas and disciplines in order to impart this

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onto our future students (Dinham, 2017, p.42). Both the art making and responding activities exemplify arts education principles when a multidisciplinary or transdisciplinary point of view is taken from this assessment and integrated into the curriculum. This allows students to have various interpretations of set tasks, which in turn generates connections between products and records of all cultures. Finally, the Australian curriculum endorses the ideology linking the arts to different subjects such as English, History, Geography and physical education (Dinham,2017, p.42).

7. Rate the degree to which this module of work ( readings, viewing, practice, discussion, arts activities) has advanced your progress towards achieving the Unit’s Learning Outcomes?

Unit Learning Outcomes

Doesn’t

I have

I have

I now

apply

made

made

feel

some

significan

confiden

progress

t progress

t in this area

1

Demonstrate understanding of The Arts as cultural enterprises in terms of their

x

significance and role in life society and education.

2

Apply the principles of authentic arts engagement through experiential learning in

x

dance drama and music education where the emphasis is on creative thinking selfexpression meaning-making and communication of ideas.

3

Summarise the research evidence about the ways The Arts contribute to children’s

x

developmental growth and promote positive outcomes for children from a diversity of backgrounds needs and learning styles.

4

Demonstrate a foundation of arts literacy

x

competency for teaching through a personal investment in performing-arts praxis reflection and appreciation.

5

Develop presentation and communication skills through dance drama and music to become a

x

confident and effective performer and

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communicator. General observations about your learning to date:

I feel as though the reflective practitioner is a lot of information to both take on board as the person writing it and as the Tutor reading it. Sure, I have learned a lot from this task but in some ways many of these questions overlap and interconnect almost like doubling up on work. I can tell you the terminology and meanings have definitely stuck in my brain.

Reference List

Hetland, L, Winner, E., Veenema, S. Sheridan, K. (2007) Studio Thinking: The Real Benefits of Visual Arts Education. New York: Teachers College Press.

Dinham, J. (2017). Delivering authentic arts education (3rd ed.). Melbourne: Cengage.

Tuner classic movies. (Carol Reed, John Woolf). (1968). Oliver (1968) -- (Movie Clip) Consider Yourself. [Video File]. Retrieved from:

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http://www.tcm.com/mediaroom/video/297868/Oliver-Movie-Clip-ConsiderYourself.html

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