Students analyze two scenes from The Great Gilly Hopkins and write their own scripts based on a short scene from the novel.
- Length: 4 or more days
- Grades: 5-8
- Students analyze and discuss elements of drama and acting in scenes from The Great Gilly Hopkins.
- Students reflect on and discuss character in drama and the change in Gilly’s character in the video excerpt.
- Students create a dialogue script using an incident from the book The Great Gilly Hopkins by Katherine Paterson.
The Great Gilly Hopkins
Found On: Performance Excerpts
Vocabulary, Materials, and Handouts
character, costumes, lighting, literary elements, movement, performance elements, plot, props, scenery, technical elements, vocal expression
TV/VCR or DVD player, copies of Katherine Paterson’s novel The Great Gilly Hopkins
- Graphic Organizer
- Technical Elements Chart
Instructional Strategies and Activities
Day 1: View and discuss excerpt (60 minutes).
From the teachers guide to Stage Ones Wind in the Willows:
A script follows this format:
CHARACTER NAME: (Stage Direction) Line of Dialogue.
CHARACTER NAME is usually in bold or in full caps.
A STAGE DIRECTION is information for the director and actor. This information describes the actions for certain characters and/or their emotions while stating a line. Each stage direction should be a line of discovery that adds new information to the script.
A LINE OF DIALOGUE is what the character says.
Day 2: View excerpt for the second time, review previous days discussion, add any reflections students may now have, and complete Open Response Assessment (60 minutes).
Days 3-4 (or longer): Write a dialogue script using a passage from the book The Great Gilly Hopkins by Katherine Paterson (60 minutes/session). The script may be used as a Writing Portfolio literary piece.
Days 1 and 2: View and Discuss
Ask students: Think of a time in your life when you really wanted to get something, to go somewhere, or to have something happen; imagined how happy you would be; but then were unhappy or disappointed when you got what you wanted. Why did you feel that way? Discuss in pairs the reasons it might have happened.
Katherine Paterson is probably best known for her Newberry Award-winning novel for young audiences, Bridge to Terabithia. Students who enjoy her work may want to visit the Katherine Paterson home page at www.terabithia.com. Several of her books have been dramatized. Check with a local theater company to find out whether they will be producing a play based on a Paterson novel.
Provide students with this background information on the excerpt they are about to watch:
In these two scenes from The Great Gilly Hopkins, we see a change in the character of Gilly, an 11-year-old girl who has lived in a series of foster homes. In the first scene, Gilly has arrived at the home of her new foster mother, Maime Trotter, and a younger foster child, William Ernest, who has learning difficulties. Their next-door neighbor, the blind Mr. Randolph, joins the family for dinner each night. Mr. Randolph is a very literate gentleman who frequently quotes poetry. Another character who is mentioned in this scene but is not on stage is Courtney, Gillys biological mother. Gilly believes that if she could only live with her mother, all would be well in her life.
In the second scene, her wish has come true, and Gilly realizes that her fantasy of the beautiful and perfect mother is only that. The flaws and faults of the aging Courtney become apparent, and Gilly wants to return to the familiar safety and comfort of home with Maime, W.E., and Mr. Randolph.
- In what ways have the playwright, director, and actors used the elements of drama to show change in character from one scene to another in this play?
- How do the elements of drama work together to create this character change in Gilly from the first scene to the second?
Have students use the graphic organizer handout to help them analyze the excerpt. Review elements of drama and vocabulary, if necessary.
View and Discuss
The video encompasses three segments: a brief introduction by J. Daniel Herring of Stage One, who discusses character; an early scene from the play The Great Gilly Hopkins (Scene 1); and a later scene from the play (Scene 2). View the introduction and Scene 1 and have students fill in the appropriate sections of the graphic organizer. Discuss the following questions:
- What is the setting (time and place) of this play?
- Summarize the plot from this short portion of the play.
- What happened in this scene? What clues from the technical and performance elements led you to this conclusion?
- Describe Maime Trotters character and personality, using evidence from the scene to support your description. (What does she say and do to lead you to this conclusion?)
- Describe Gillys character and personality, supporting your description with evidence from the scene.
- How would you describe the relationship between Maime and Gilly?
- Refer to your graphic organizer. How do the technical elements contribute to your (the audiences) understanding of the character of Maime Trotter? of Gilly?
- Refer to your graphic organizer. How do the performance elements contribute to your (the audiences) understanding of the character of Maime Trotter? of Gilly?
View Scene 2 and have students complete the graphic organizer. If there are no differences between the first and the second scene in a certain element of drama, tell students to place a dash or an NC (no change) in the Scene 2 area. Discuss the following questions:
- Summarize the plot from this excerpt.
- Identify changes in the character of Maime Trotter from Scene 1 to Scene 2.
- Identify changes in the character of Gilly from Scene 1 to Scene 2.
- Refer to your graphic organizer. How do the technical elements contribute to this change?
- How do the performance elements contribute to this change?
- Does the mood change from Scene 1 to Scene 2? How do the elements of drama support this change?
- How would you describe the relationship between Maime and Gilly in this excerpt? Compare this relationship to that in Scene 1.
- How would you describe Gillys emotions in Scene 1? in Scene 2? How do voice quality, expression, and tone contribute to how the actress conveys Gillys emotions in the scenes?
- How do movement and the energy of movement of the actresses contribute to this understanding?
Complete the Open Response Assessment.
Days 3 and Following: Create Your Own Script
Introduce the Lesson
Explain to students that they will use what theyve learned about literary, technical, and performance elements of drama to create a simple script of their own, using a one- or two-page passage from the novel The Great Gilly Hopkins. See the Performance Assessment for instructions.
If you coordinate this lesson with the reading of the novel The Great Gilly Hopkins, you can suggest to students at the outset that they look for scenes they might like to dramatize. Otherwise, use these suggestions as possible scenes to dramatize:
- Chapter 2: Gilly meets Mr. Randolph.
- Chapter 3: Gilly enrolls in school and meets her teacher, Miss Harris.
- Chapter 3: the baseball fight and Mr. Evans
- Chapter 4: Agnes Stokes and Gilly
- Chapter 4: Mr. Randolph introduces Gilly to poetry.
- Chapter 5: Gilly teaches W.E. to make and fly paper airplanes.
- Chapter 6: Miss Harris confronts Gilly about a note.
- Chapter 7: Gilly and W.E. dust Mr. Randolphs bookshelves and discover money.
- Chapter 8: Gilly buys a ticket to California.
- Chapter 9: Gilly teaches W.E. to fight.
- Chapter 10: Gilly cares for the sick.
- Chapter 11: Gilly prepares and serves dinner.
- Chapter 12: Mr. Randolph gives Gilly a book of poetry.
- Chapter 13: Mrs. Hopkins and the ride to Virginia
- Chapter 14: Nonnie and Gilly
Review script format with students before they begin.
Technical Elements Chart
Have students complete the Technical Elements Chart handout.
Extensions for Diverse Learners
- Assure students that their responses on the graphic organizer need not be in complete sentences. The organizer is intended to help them analyze and remember what they saw in the excerpts. Circulate through the room to help students who may have difficulty in writing or completing the organizer.
- As an alternative, students could discuss and complete the graphic organizer in small groups.
Writing To Communicate
- The script may be used as a literary piece.
Applications Across the Curriculum
- Have students read their scripts in small groups and accept suggestions from their peers. Then have them revise their scripts.
- The Great Gilly Hopkins is an example of the dramatization of a work of literature. The Drama Toolkit contains other examples, notably scenes from plays based on The Wind in the Willows by Kenneth Grahame, Pinocchio by Carlo Collodi, and Frankenstein by Mary Shelley. Assign readings from these works and ask students to compare them to the dramatized versions. Discuss how successful the playwright was in transforming a work of literature into a play. Or use these scenes as writing models and have students create short scripts based on scenes from other literary works they will read during the school year. This is an excellent way to assess their understanding of the reading assignment.
- Invite a playwright to come to your class and answer students’ questions. Have students brainstorm a list of good questions in advance to ensure they’re prepared to find out such things as where playwrights get their ideas, how they create characters and dialogue, how they select/indicate the technical elements for their scripts, and how they feel when they see their plays produced.
- Drama is a cross-disciplinary art form, requiring a wide variety of people with a wide variety of skills to make a dramatic production successful. The artistic staff will include visual artists (for set and costume design and construction), composers and musicians, playwrights, actors, directors, and other theater professionals. Lighting and sound designers must have a good understanding of the science behind their art form. A theater company also requires people with marketing, mathematical, writing, and people skills if it’s going to survive. The production of a play for the school or for parents can be organized to demonstrate the cross-disciplinary nature of the art form, with students assigned such tasks as marketing the production and determining a budget with projected expenses and income from tickets or grants, as well as producing, directing, and/or acting in the play.
Open Response Assessment
In dramatic presentations, characters are created through the interaction of the playwright, director, and actors as they work with the elements of production and performance.
After viewing excerpts from The Great Gilly Hopkins, use appropriate drama vocabulary and an understanding of the technical and performance elements to describe how the character of Gilly changes from Scene 1 to Scene 2. Use examples and details to support your answer.
Open Response Scoring Guide
|The response is complete and demonstrates an extensive knowledge of the concepts and vocabulary of the technical and performance elements in drama. The response demonstrates consistent, effective application of the elements of drama in contrasting these elements and in analyzing character changes in Scenes 1 and 2 of The Great Gilly Hopkins. The response demonstrates effective communication skills, with insightful use of supporting examples and relevant details from the drama excerpts.
|The response demonstrates a broad knowledge of the concepts and vocabulary of the technical and performance elements in drama. The response demonstrates effective application of some of the elements of drama in contrasting these elements and in analyzing character changes in Scenes 1 and 2 of The Great Gilly Hopkins. The response demonstrates effective communication skills, with use of supporting examples and relevant details from the drama excerpts.
|The response demonstrates a basic knowledge of the concepts and vocabulary of the technical and performance elements in drama. The response demonstrates some correct application of at least three of the elements of drama in contrasting these elements and in analyzing character changes in Scenes 1 and 2 of The Great Gilly Hopkins. The response may include errors or misconceptions. The response communicates on a basic level, with limited use of supporting examples and relevant details from the drama excerpts.
|The response demonstrates minimal or incorrect knowledge of the concepts and vocabulary of the technical and performance elements in drama. The response demonstrates inappropriate or no application of the elements of drama in contrasting these elements and in analyzing character changes in Scenes 1 and 2 of The Great Gilly Hopkins. The response includes errors or misconceptions. The response demonstrates ineffective communication skills, with little or no use of supporting examples and relevant details from the drama excerpts.
|Student offers blank or irrelevant response.
We have viewed scenes from a play based on The Great Gilly Hopkins, a novel written by Katherine Paterson. We have discussed ways in which characters may change during the course of a play and how the elements of drama contribute to our understanding of change. We have also analyzed and written about changes in the character of Gilly in the two scenes we viewed from the play.
- Create a simple script for a short scene using a one- or two-page passage from the novel The Great Gilly Hopkins. The passage should include an interaction between two or more characters. As the playwright, you will write dialogue for the script. Use correct script format.
- Complete the Technical Elements Chart handout to explain what you have in mind for the elements of production.
Performance Scoring Guide
|The students drama script and Technical Elements Chart demonstrate extensive understanding and application of the concepts and elements of drama. The script demonstrates effective communication skills and correct use of the script form. The meaning of the passage in literature is insightfully communicated through the scripts dialogue and production elements.
|The students drama script and Technical Elements Chart demonstrate understanding and application of the concepts and elements of drama. The script demonstrates effective communication skills and correct use of the script form. The meaning of the passage in literature is communicated through the scripts dialogue and production elements.
|The students drama script and Technical Elements Chart demonstrate partial understanding and application of the concepts and elements of drama. The script demonstrates basic communication skills and possibly incorrect use of the script form. The meaning of the passage in literature is partially communicated through the scripts dialogue and production elements.
|The students drama script and Technical Elements Chart demonstrate underdeveloped understanding and little application of the concepts and elements of drama. The script demonstrates ineffective communication skills and incorrect use of the script form. The meaning of the passage in literature is not communicated through the scripts dialogue and production elements.
|The student does not attempt to write a script or complete the Technical Elements Chart.
Support - Connections - Resources - Author
- Evans, Cheryl and Lucy Smith. Acting and Theatre. London: Usborne Publishing, 1992.
- Lee, Robert. Everything About Theatre: The Guidebook of Theatre Fundamentals. Colorado Springs: Meriwether Publishing, 1996.
- Paterson, Katherine. The Great Gilly Hopkins. New York: HarperCollins, 1978.
- Spolin, Viola. Theater Games for the Classroom: A Teacher’s Handbook. Evanston, IL: Northwestern University Press, 2000.
- The World of Theater: The History of Actors, Singers, Costumes, Audiences, and Scenery. New York: Scholastic, Inc., 1995.
Mary Ann Chamberlain, Ph.D.
Wanafunzi kuchambua matukio mawili kutoka The Great Gilly Hopkins na kuandika scripts yao wenyewe kulingana na eneo fupi kutoka riwaya. "Mwaka wa 5 na zaidi: ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi"" - ""Mwaka wa 5 na zaidi" - Wanafunzi kutafakari na kujadili tabia katika mchezo wa kuigiza na mabadiliko katika tabia Gilly katika video sehemu. "Mwanafunzi mmoja wa shule ya sekondari ya New York aliandika kitabu cha ""The Great Gilly Hopkins"" cha Katherine Paterson." The Great Gilly Hopkins: Vocabulary, Materials, and Handouts Character, Costumes, Lighting, Literary Elements, Movement, Performance Elements, Plot, Props, Scenery, Technical Elements, Vocal Expression, TV, VCR, DVD Player, Copies of Katherine Paterson's novel The Great Gilly Hopkins: Graphic Organizer, Technical Elements, Chart, Instructional Strategies and Activities, Day 1 and 2 "Kutoka kwa mwongozo wa walimu wa ""Stage Ones: Wind in the Willows"" (Mwanzo wa Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho ya Maonyesho)." Jina la mhusika kwa kawaida huandikwa kwa herufi nzito au kwa herufi kubwa. A STAGE DIRECTION ni habari kwa ajili ya mkurugenzi na mwigizaji. Habari hii inaelezea vitendo kwa wahusika fulani na / au hisia zao wakati wa kusema mstari. Kila mwelekeo wa hatua inapaswa kuwa mstari wa ugunduzi ambao unaongeza habari mpya kwa script. Mstari wa mazungumzo ni kile ambacho mhusika anasema. Siku ya pili: Tazama sehemu kwa mara ya pili, angalia majadiliano ya siku za awali, ongeza tafakari yoyote ambayo wanafunzi wanaweza kuwa nayo sasa, na kukamilisha Tathmini ya Jibu la Wazi (Dakika 60). "Kutumia maandishi ya mazungumzo ya ""The Great Gilly Hopkins"" na Katherine Paterson" Hati inaweza kutumika kama Writing Portfolio kipande cha fasihi. Siku ya kwanza na ya pili: Fikiria wakati fulani maishani mwako ulipotaka sana kupata kitu fulani, kwenda mahali fulani, au kufanya jambo fulani litukie; ulifikiria jinsi ungefurahi; lakini baadaye ukawa na huzuni au kukata tamaa ulipopata kile ulichotaka. Kwa nini ulihisi hivyo? Zungumza kwa jozi juu ya sababu ambazo huenda zilifanya jambo hilo litukie. Katherine Paterson ni maarufu kwa ajili ya Newbery tuzo yake ya kushinda riwaya kwa watazamaji vijana, Bridge Terabithia. Kwa wale wanaotaka kujifunza zaidi kuhusu kazi ya Katherine Paterson, tafadhali tembelea ukurasa wa nyumbani wa Katherine Paterson kwenye www.terabithia.com. Vitabu vyake kadhaa vimepigwa filamu. Angalia na kampuni ya ukumbi wa michezo ya mahali hapo ili kujua kama watakuwa na uzalishaji wa mchezo kulingana na riwaya ya Paterson. "Kama unavyoona, katika picha mbili zilizochukuliwa kutoka kwa ""The Great Gilly Hopkins,"" Gilly ni msichana wa miaka 11 ambaye ameishi katika nyumba kadhaa za utunzaji." Katika sehemu ya kwanza, Gilly amefika nyumbani kwa mama yake mpya wa kulea, Maime Trotter, na mtoto mdogo wa kulea, William Ernest, ambaye ana matatizo ya kujifunza. Jirani yao wa karibu, Mr. Randolph kipofu, hujiunga na familia kwa chakula cha jioni kila usiku. Mheshimiwa Randolph ni mtu mwenye ujuzi sana ambaye mara nyingi hunukuu mashairi. Mhusika mwingine anayetajwa katika eneo hili lakini hayuko jukwaani ni Courtney, mama wa kibinadamu wa Gillys. Gilly anaamini kwamba ikiwa angeweza tu kuishi na mama yake, kila kitu kingekuwa vizuri katika maisha yake. Katika sehemu ya pili, tamaa yake imetimizwa, na Gilly anatambua kwamba ndoto yake ya mama mrembo na mkamilifu ni hiyo tu. Mapungufu na makosa ya Courtney ya kuzeeka yanaonekana, na Gilly anataka kurudi kwa usalama wa kawaida na faraja ya nyumbani na Maime, W.E., na Mheshimiwa Randolph. - Mwandishi wa michezo, mkurugenzi, na waigizaji wametumiaje mambo ya kuigiza ili kuonyesha badiliko la tabia kutoka sehemu moja hadi nyingine katika mchezo huu? - Jinsi gani vipengele vya mchezo wa kuigiza kufanya kazi pamoja kuunda hii tabia mabadiliko katika Gilly kutoka eneo la kwanza kwa pili? Waombe wanafunzi watumie kijitabu cha mpangaji wa picha ili kuwasaidia kuchanganua sehemu hiyo. Kumbuka mambo ya kuigiza na maneno ya kusema, ikiwa ni lazima. Video ina sehemu tatu: utangulizi mfupi na J. Daniel Herring wa Stage One, ambaye anajadili tabia; eneo la mapema kutoka mchezo The Great Gilly Hopkins (Sena ya 1) na eneo la baadaye kutoka mchezo (Sena ya 2). Tazama utangulizi na sehemu ya kwanza na uwaulize wanafunzi kujaza sehemu zinazofaa za mpangaji wa picha. Zungumzia maswali yafuatayo: - Ni nini mazingira (wakati na mahali) ya mchezo huu? - Fupisha njama kutoka sehemu hii fupi ya mchezo. - Ni nini kilichotokea katika eneo hili? Ni vidokezo gani kutoka kwa vipengele vya kiufundi na utendaji vilikuongoza kwenye hitimisho hili? - Kuelezea tabia Maime Trotters na utu, kwa kutumia ushahidi kutoka eneo la tukio ili kuunga mkono maelezo yako. (Ni nini anachosema na kufanya ambacho kinakuongoza kufikia mkataa huo?) - Kuelezea tabia ya Gillys na utu, kuunga mkono maelezo yako na ushahidi kutoka eneo la tukio. - Ungefafanuaje uhusiano kati ya Maime na Gilly? - Angalia mratibu wako wa picha. Jinsi gani vipengele vya kiufundi kuchangia yako (watazamaji) uelewa wa tabia ya Maime Trotter? ya Gilly? - Angalia mratibu wako wa picha. Jinsi gani vipengele vya utendaji kuchangia yako (watazamaji) uelewa wa tabia ya Maime Trotter? ya Gilly? Tazama picha ya pili na uone jinsi wanafunzi wanavyoweza kuandaa picha. Ikiwa hakuna tofauti kati ya eneo la kwanza na la pili katika sehemu fulani ya mchezo wa kuigiza, waambie wanafunzi kuweka dash au NC (hakuna mabadiliko) katika eneo la eneo la 2 la mchezo wa kuigiza. Zungumzia maswali yafuatayo: - Fafanua kwa ufupi hadithi ya sehemu hii. - Kutambua mabadiliko katika tabia ya Maime Trotter kutoka Scene 1 kwa Scene 2. - Kutambua mabadiliko katika tabia ya Gilly kutoka Scene 1 kwa Scene 2. - Angalia mratibu wako wa picha. Mambo ya kiufundi yanachangiaje badiliko hilo? - Jinsi gani vipengele vya utendaji kuchangia mabadiliko haya? Je, hali ya hewa hubadilika kutoka eneo la 1 hadi eneo la 2? Mambo ya kuigiza huunga mkonoje badiliko hilo? - Ungefafanuaje uhusiano kati ya Maime na Gilly katika sehemu hii? Linganisha uhusiano huu na ule katika Mandhari ya 1. - Ungefafanuaje hisia za Gillys katika Mandhari ya Kwanza? Katika eneo la 2? Ubora wa sauti, usemi, na sauti huchangiaje jinsi mwigizaji anavyoeleza hisia za Gillys katika mandhari? - Jinsi gani harakati na nishati ya harakati ya waigizaji kuchangia uelewa huu? Kukamilisha Open Response Tathmini. "Kama ""Msomaji"" wa kitabu hiki, unaweza kuelezea jinsi ya kuunda maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi ya maandishi." Angalia Tathmini ya Utendaji kwa maagizo. "Kama unafanya masomo haya kwa kusoma riwaya ""The Great Gilly Hopkins,"" unaweza kuwapa wanafunzi wazo la kuanza na kuangalia matukio ambayo wanaweza kupenda kuigiza." "Kama vile unavyoweza kuona katika picha iliyo hapa chini, unaweza kuona picha ya ""Gilly Meets Mr. Randolph.""" Sura ya 3 - Gilly anajiandikisha shuleni na kukutana na mwalimu wake, Miss Harris. "Msemo wa kwanza wa ""The Baseball Fight and Mr. Evans"" ni kuhusu Agnes Stokes na Gilly, ambao wanashirikiana na Mr. Randolph katika mchezo wa baseball." Sura ya 5 - Gilly Anafundisha W.E. Jinsi ya kutengeneza na kuruka ndege za karatasi Sura ya 6: Bi Harris anamkabili Gilly kuhusu barua. Sura ya 7 - Gilly na W. E. Punguza vumbi kwenye rafu za vitabu za Bw. Randolph na ugundue pesa. Sura ya 8 - Gilly Anunua Tiketi ya California Sura ya 9 - Gilly Anafundisha W.E. kupigana. Sura ya 10: Gilly Anawatunza Wagonjwa Sura ya 11: Gilly Anatayarisha na Kutumikia Chakula cha Jioni "Mwanzo wa 12: ""Bwana Randolph anampa Gilly kitabu cha mashairi.""" "Ms. Hopkins na safari ya Virginia: ""Nonnie na Gilly: Kumbuka muundo wa maandishi na wanafunzi kabla hawajaanza.""" Chati ya Vitu vya Ufundi Wacha wanafunzi wakamilishe karatasi ya Chati ya Vitu vya Ufundi. Upanuzi kwa ajili ya Wanafunzi mbalimbali - Kuwahakikishia wanafunzi kwamba majibu yao juu ya mratibu wa picha hawana haja ya kuwa katika sentensi kamili. Mratibu amekusudiwa kuwasaidia kuchanganua na kukumbuka yale waliyoona katika vifungu hivyo. Kuendesha kwa njia ya chumba kusaidia wanafunzi ambao wanaweza kuwa na ugumu katika kuandika au kukamilisha mratibu. - Kama mbadala, wanafunzi wanaweza kujadili na kukamilisha mpangaji wa picha katika vikundi vidogo. Kuandika Ili Kuwasiliana - Hati hiyo yaweza kutumiwa kama kipande cha fasihi. Maombi katika Mtaala - Waambie wanafunzi wasome maandishi yao katika vikundi vidogo na wakubali mapendekezo kutoka kwa wenzao. Kisha uwaambie wakarabati maandishi yao. - The Great Gilly Hopkins ni mfano wa dramatization ya kazi ya fasihi. "Kifaa cha Drama kina mifano mingine, hasa mandhari kutoka kwa michezo kulingana na ""The Wind in the Willows"" na Kenneth Grahame, ""Pinocchio"" na Carlo Collodi, na ""Frankenstein"" na Mary Shelley." Wape wasomaji mambo kutoka katika kazi hizo na kuwaomba wanafunzi wailinganishe na matoleo yaliyoonyeshwa. Zungumzia jinsi mwandishi huyo wa michezo alivyofanikiwa kubadilisha kazi ya fasihi kuwa mchezo wa kuigiza. Tumia picha hizi kama mifano ya kuandika na kuwa na wanafunzi kuunda maandishi mafupi kulingana na picha kutoka kwa kazi nyingine za fasihi watazosoma wakati wa mwaka wa shule. Hii ni njia nzuri sana ya kupima uelewa wao wa mgawo wa kusoma. - Mwite mwandishi wa michezo aje darasani mwako na kujibu maswali ya wanafunzi. Waulize wanafunzi orodha ya maswali mazuri mapema ili kuhakikisha kuwa wamewekwa tayari kujua mambo kama vile ambapo waandishi wa michezo hupata mawazo yao, jinsi wanavyounda wahusika na mazungumzo, jinsi wanavyochagua au kuonyesha vipengele vya kiufundi kwa maandishi yao, na jinsi wanavyohisi wanapoona michezo yao ikitengenezwa. Drama ni aina ya sanaa ya interdisciplinary, ambayo inahitaji aina mbalimbali ya watu na aina mbalimbali ya ujuzi wa kufanya uzalishaji wa kuvutia mafanikio. Wafanyakazi wa sanaa watatia ndani wasanii wa kuona (kwa ajili ya seti na mavazi ya kubuni na ujenzi), watunzi na wanamuziki, waandishi wa michezo, waigizaji, wakurugenzi, na wataalamu wengine wa ukumbi wa michezo. Watengenezaji wa taa na sauti lazima wawe na uelewa mzuri wa sayansi iliyo nyuma ya aina yao ya sanaa. Kampuni ya ukumbi wa michezo pia inahitaji watu wenye masoko, hisabati, uandishi, na ujuzi wa watu ikiwa itaendelea kuishi. Utaratibu wa kuandaa mchezo wa kuigiza kwa ajili ya shule au kwa ajili ya wazazi unaweza kupangwa ili kuonyesha asili ya interdisciplinary ya aina ya sanaa, na wanafunzi kupewa kazi kama vile masoko ya uzalishaji na kuamua bajeti na gharama zilizotarajiwa na mapato kutoka kwa tiketi au ruzuku, pamoja na kuzalisha, kuongoza, na au kutenda katika mchezo. Katika maonyesho ya kuigiza, wahusika huundwa kupitia mwingiliano wa mwandishi wa michezo, mkurugenzi, na waigizaji wanapofanya kazi na vipengele vya uzalishaji na utendaji. Baada ya kutazama vifungu kutoka The Great Gilly Hopkins, tumia msamiati sahihi wa mchezo wa kuigiza na uelewa wa vipengele vya kiufundi na utendaji kuelezea jinsi tabia ya Gilly inabadilika kutoka Scene 1 hadi Scene 2. Tumia mifano na maelezo ili kuunga mkono jibu lako. Open majibu Scoring Guide: majibu ni kamili na inaonyesha maarifa ya kina ya dhana na msamiati wa vipengele vya kiufundi na utendaji katika mchezo wa kuigiza. "Kutokana na majibu hayo, kunaonyesha matumizi ya ufanisi ya vipengele vya mchezo wa kuigiza katika kulinganisha vipengele hivyo na katika kuchambua mabadiliko ya tabia katika sehemu ya kwanza na ya pili ya ""The Great Gilly Hopkins.""" Jibu hilo linaonyesha ustadi mzuri wa kuwasiliana, likiwa na matumizi yenye ufahamu ya mifano ya kutegemeza na maelezo yanayohusiana kutoka katika sehemu za drama. Jibu inaonyesha maarifa ya kina ya dhana na msamiati wa vipengele vya kiufundi na utendaji katika mchezo wa kuigiza. "Kutokana na majibu hayo, kuna uthibitisho wa matumizi ya ufanisi ya baadhi ya vipengele vya mchezo wa kuigiza katika kulinganisha vipengele hivyo na katika kuchambua mabadiliko ya tabia katika sehemu ya kwanza na ya pili ya ""The Great Gilly Hopkins.""" Jibu hilo linaonyesha ustadi mzuri wa kuwasiliana, kwa kutumia mifano inayounga mkono na maelezo yanayohusiana kutoka katika sehemu za mchezo wa kuigiza. Jibu inaonyesha ujuzi wa msingi wa dhana na msamiati wa vipengele vya kiufundi na utendaji katika mchezo wa kuigiza. "Kutokana na majibu hayo, kuna utumizi sahihi wa angalau mambo matatu ya mchezo wa kuigiza katika kulinganisha mambo hayo na kuchambua mabadiliko ya tabia katika sehemu ya kwanza na ya pili ya ""The Great Gilly Hopkins.""" Jibu laweza kutia ndani makosa au maoni yasiyofaa. Jibu la mawasiliano katika ngazi ya msingi, na matumizi mdogo ya kusaidia mifano na maelezo muhimu kutoka vipindi vya mchezo wa kuigiza. Jibu inaonyesha ujuzi mdogo au sahihi wa dhana na msamiati wa vipengele vya kiufundi na utendaji katika mchezo wa kuigiza. "Kutokana na majibu hayo, kunaonekana kwamba mambo ya kuigiza hayakuendeshwa vizuri au hayakuendeshwa kabisa katika kulinganisha mambo hayo na katika kuchambua mabadiliko ya wahusika katika sehemu ya kwanza na ya pili ya ""The Great Gilly Hopkins.""" Jibu hilo linatia ndani makosa au maoni yasiyofaa. Jibu linaonyesha ustadi wa mawasiliano usiofaa, na matumizi machache au hakuna matumizi ya mifano ya kuunga mkono na maelezo muhimu kutoka kwa vifungu vya mchezo wa kuigiza. Mshindi wa nafasi ya kwanza hutoa jibu tupu au lisilo na maana. "Kama ilivyoelezwa katika makala ya mwisho ya kitabu cha ""The Great Gilly Hopkins"" cha Katherine Paterson." Tumechunguza jinsi wahusika wanavyoweza kubadilika wakati wa mchezo na jinsi mambo ya kuigiza yanavyotusaidia kuelewa mabadiliko. Pia, tulichunguza na kuandika kuhusu mabadiliko katika tabia ya Gilly katika mandhari mbili tulizotazama kutoka kwa mchezo huo. - Kuunda script rahisi kwa ajili ya eneo fupi kwa kutumia moja au kurasa mbili kifungu kutoka riwaya The Great Gilly Hopkins. Sehemu hiyo inapaswa kutia ndani mwingiliano kati ya wahusika wawili au zaidi. Ukiwa mwandishi wa michezo, utaandika mazungumzo kwa ajili ya maandishi. Tumia muundo sahihi wa maandishi. - Kukamilisha kifungu cha Chati ya Vipengele vya Ufundi kuelezea nini una katika akili kwa vipengele vya uzalishaji. Mwongozo wa Upimaji wa Utendaji | Maandishi ya mchezo wa kuigiza ya wanafunzi na Chati ya Vipengele vya Ufundi huonyesha uelewa mkubwa na matumizi ya dhana na vipengele vya mchezo wa kuigiza. Hati inaonyesha ujuzi wa mawasiliano yenye ufanisi na matumizi sahihi ya fomu ya maandishi. Maana ya kifungu katika fasihi ni insightfully kuwasiliana kupitia scripts mazungumzo na vipengele vya uzalishaji. <unk>The wanafunzi mchezo wa kuigiza script na Ufundi Elements Chart kuonyesha uelewa na matumizi ya dhana na vipengele vya mchezo wa kuigiza. Hati inaonyesha ujuzi wa mawasiliano yenye ufanisi na matumizi sahihi ya fomu ya maandishi. Maana ya kifungu katika fasihi ni kuwasiliana kupitia scripts mazungumzo na vipengele vya uzalishaji. <unk>The wanafunzi mchezo wa kuigiza script na Ufundi Elements Chart kuonyesha ufahamu wa sehemu na matumizi ya dhana na vipengele vya mchezo wa kuigiza. Hati inaonyesha ujuzi wa msingi wa mawasiliano na uwezekano wa matumizi yasiyo sahihi ya fomu ya maandishi. Maana ya kifungu katika fasihi ni sehemu ya kuwasiliana kupitia scripts mazungumzo na vipengele vya uzalishaji. <unk>Mwanzoni mwa mchezo wa kuigiza wa wanafunzi na Chati ya Vitu vya Ufundi huonyesha uelewa wa chini na matumizi machache ya dhana na vipengele vya mchezo wa kuigiza. Hati inaonyesha ujuzi wa mawasiliano usiofaa na matumizi yasiyofaa ya fomu ya maandishi. Maana ya kifungu katika fasihi si kuwasiliana kupitia maandishi mazungumzo na vipengele vya uzalishaji. Mshiriki wa programu ya uandishi wa maandishi ya uandishi wa maandishi ya uandishi wa maandishi ya uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi wa uandishi. - Msaada Connections - Rasilimali - Mwandishi - Evans, Cheryl na Lucy Smith. Uigizaji na Uigizaji. London, Usborne Publishing, 1992. - Lee, Robert. Kila kitu Kuhusu Theatre: Kitabu cha Mwongozo wa Misingi ya Theatre. Colorado Springs, Merriweather Publishing - Paterson, Katherine. Gilly Hopkins Mkuu. New York, HarperCollins, 1978. - Spolin, Viola. Michezo ya Maonyesho ya Darasani: Mwongozo wa Mwalimu. Evanston, IL: Northwestern Chuo Kikuu Press, 2000. - Ulimwengu wa Maonyesho: Historia ya Waigizaji, Waimbaji, Mavazi, Watazamaji, na Mandhari. New York: Scholastic, Inc., 1995. Mary Ann Chamberlain, Ph.D.