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Québec Education Program

Drama

Personal Develop

men

tMathematics, Science and Technology

Socia

l Scie

nces

Arts EducationLanguages

Uses information

Solves problems

Exercises criticaljudgment

Uses creativity

Adopts effectivework methods

Uses informationand communications

technologies

Achieves his/herpotential

Cooperateswith others

Communicatesappropriately

INTELLECTUAL COMPETENCIES

METHODOLOGICAL COMPETENCIESPERSONAL AND SOCIAL COMPETENCIES

COMMUNICATION-RELATEDCOM

PETENCY

Health andWell-Being

Personal and CareerPlanning

Environmental Awarenessand Consumer Rights and

Responsibilities

MediaLiteracy

Citizenship andCommunity Life

STUDENTConstructionof world-view

Constructionof identity

Empowerment

Appreciatesdramatic

works

Cross-Curricular Competencies

Subject Areas

Aims of the QEP

Broad Areas of Learning

Subject-Specific Competencies in Drama

Making Connections: Drama and the Other Dimensionsof the Québec Education Program (QEP)

Createsdramatic

works

Performsdramatic

works

DramaArts Education

Drama involves the creation and performance of actionwith characters, using elements of a stage and followingcertain conventions which may vary according to placeand historical period. This art form can be defined throughfour main focuses: playwriting, performance, stage direct-ing and audience reception. Playwriting has long beenthe art of writing plays according to specific composi-tional rules. Since the advent of modern stage directing,in the second half of the 19th century, it has focused notonly on the writing and analysis of dramatic works, butalso on alternative interpretations of a given text accord-ing to different approaches to staging. Through perfor-mance, actors display their talents in bringing a story tolife by using their body, gestures and voice to performcharacters. Stage directing may be defined as the selectionand organization of various means intended to transposea personal interpretation of a work to the stage. Finally,reception deals especially with the elements that influencethe audience’s perceptions: stage directing, set design andthe organization of the stage-audience relationship.

The Drama program is designed to engage students on anumber of levels: psychomotor, affective, social, cognitiveand cultural. On the psychomotor level, students are placedin situations that allow them to experiment with the inter-relationship between body, emotions and thought. Whenworking on body, voice or dramatic techniques, for exam-ple, students refine their gestures and learn how to bettercontrol their movements and voice in the service ofexpression and communication. On the affective level,students activate their potential for creation and perfor-mance to express their own emotions or those of others.This way they develop their sensitivity, become aware oftheir individuality, emotions, values, beliefs and motiva-

tions, and build their self-esteem. On the social level, theyexperience the synergy of teamwork in which each membercontributes to the interests of the group and the qualityof the overall result. They also learn to recognize in theworks they create, interpret or appreciate, the reflectionof a particular social environment—their own, those oftheir peers or those of playwrights—which fosters theirreceptivity to the world. On the cognitive level, creation,performance and appreciation require observing, under-standing, analyzing or synthesizing texts, actions and sit-uations. Drama also requires students to exercise creativethinking and critical judgment. Finally, on the cultural level,their creations reflect their interests, values and immediatecultural environment. Furthermore, students are given manyopportunities to know, understand, appreciate and enrichtheir cultural heritage, by reading dramatic works, attend-ing theatre performances, visiting performance venuesand meeting theatre artists and craftspeople. These variedexperiences allow students to perform different roles—as creators, performers, spectators and admirers of art—and enable them to understand and better appreciate theimportance and the function of art in their lives.

The Drama program in secondary school is a continua-tion of the arts education offered in elementary school.Students can develop and consolidate their elementary-level learning, regardless of the arts subjects to whichthey might have been introduced, since the Drama pro-gram is grounded in the basic learning fostered by artseducation while aiming to develop three complementaryand interdependent competencies:– Creates dramatic works1

– Performs dramatic works– Appreciates dramatic works


Introduction to the Drama Program

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Students develop these competencies interactively. Theplace given to the development of each competencydepends on the particular nature of the subject. For exam-ple, the creation and performance of dramatic worksrequire more time, due to the demands of acquiring thelanguage, techniques, conventions and practices of dramaas well as developing complex psychomotor skills. Thethird competency, “appreciates dramatic works,” is essen-tial to the development of students’ critical thinking,

artistic awareness and sensitivity to the various elementsof dramatic language. It is closely related to the first twocompetencies, and appreciation experiences can be rein-vested in students’ creations and performances. This com-petency increases in importance in secondary school, asstudents consolidate the learning required for the creationand performance of dramatic works, in accordance withtheir degree of socioaffective and intellectual development.

Connections With the Broad Areas of Learning

The stimuli for creation provide a useful introduction tothe broad areas of learning. Planning and realizing artis-tic or interdisciplinary projects, appreciating arts produc-tions, working in teams, performing works and expressingviewpoints are all activities that meet, in a practical way,the educational aims targeted by each broad area oflearning. The subjects that are addressed in dramaticworks can also serve as strategic links with the focusesof development of the broad areas of learning. All thebroad areas are addressed, although some are moredirectly related to the goals and practices specific to thesubject. These include Media Literacy, Citizenship andCommunity Life and Personal and Career Planning.

Connections With the Cross-Curricular Competencies

Artistic creativity is related to both intuitive and rationalthought. The creation and performance of dramatic works

is a special opportunity for students to develop their cre-ative potential. The complex and dynamic processes inwhich they become involved as they create, perform orappreciate dramatic works are associated with all thecross-curricular competencies and contribute to theirdevelopment. Students must therefore use creativity andinformation in searching for a personal stimulus for cre-ation. They must solve problems related to creation, per-formance and staging, and adopt effective work methodsin order to achieve their project’s objectives. The situa-tions of creation, performance or appreciation also requirethat students cooperate with one another and know howto use new technologies for enriching their methods ofcreating, producing or analyzing dramatic works. Thesetechnologies may also be used for consulting andresearching information. The complexity of a dramaticenterprise, its collective nature, the level of commitmentexpected and the cooperation with other students helpstudents to achieve their potential. Students are given

Making Connections: Drama and the Other Dimensions of the Québec Education Program

The secondary Drama program has a special relationshipto the aims of the Québec Education Program. Essentially,theatre arts help students to construct their identity sincethey themselves are, in a sense, the raw material of theirart. Through the use of their body, voice, imagination, sen-sibility and culture, students express themselves and theirworld-view or that of an author. To achieve this, they mustdevelop their perception of themselves and of reality. Thesame applies when they appreciate dramatic works. Theycompare their world-view with those of their peers, play-wrights or other creative individuals. They learn to knowthemselves and others better, and to understand the envi-ronment in which they evolve and interact, all of whichcontributes to their empowerment.

The Drama program should not be considered in isola-tion, as it is part of the greater Québec EducationProgram. It must be understood and used according to asystemic approach, which makes it possible to establishlinks between drama and other elements of the Program,such as the broad areas of learning, the cross-curricularcompetencies and other subjects.

1. In the Drama program, “work” is used in a broad sense; it includesproductions by students as well as those by authors or creators.

DramaArts Education

many opportunities to communicate appropriately, espe-cially when performing a work (because they must use asymbolic language and its codes and conventions) butalso when cooperating with their peers to prepare a pro-duction or when communicating their opinion of a work.The appreciation of dramatic works enables students toexercise critical judgment and develop their aesthetic sense.

Connections With the Other Subject Areas

Drama possesses great potential for making connectionswith other subjects, in particular with those in the sub-ject areas of Languages and Social Sciences, as well aswith the other arts subjects since they share a creativedynamic2 and similar competencies.

Whether creating, performing or appreciating a dramaticwork, students make use of language competencies andmust focus on the quality of communication. When cre-ating or performing a play, they are continually analyz-ing the choices they have made and their dramaticeffectiveness. Students must be attentive to spokensyntax, pitch, tone and poetic language, thus putting theirlearning in English Language Arts to good use. Furthermore,competencies that are developed in drama help studentsto pay attention to word meanings, diction, voice technique,types of discourse and the structure of language. Certainaspects of the subject can also contribute to the acquisi-tion of a second or third language. The playful nature ofthe activity and the use of gestures can be helpful to stu-dents who interact in another language and who want tobecome familiar with their host or immersion environment.

The subject area of the social sciences is also related tothe dramatic arts: the characters of a play reflect theirhistorical period, its characteristic lifestyles and socialroles. Students can perceive differences between the soci-eties depicted in dramatic texts or draw parallels withtheir own society and historical period.

Many connections can also be made between drama andreligious and moral instruction. The influence of religionon certain playwrights, and the moral and ethical dilem-mas faced by characters in plays reflect issues that aredealt with in these subjects.

These examples demonstrate the benefit of making con-nections among the different key features of the QuébecEducation Program. They also illustrate the added valuethus provided to students’ basic education, since theyfoster the transfer and consolidation of students’ learn-ing, help them develop their world-view and enrich theirgeneral cultural knowledge.


2. The creative dynamic is described in the introduction to the ArtsEducation subject area.

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The Drama Classroom: A Dynamic Place

The drama classroom is a place where numerous actionsand exchanges occur in a climate of trust and respect. Itprovides students with a supportive setting where theyfeel free to take risks, show initiative, and be creative andautonomous. They can be open to creative work, expresstheir ideas, exchange different viewpoints, becomeinvolved in a project and learn to persevere. The physicallayout is adapted to the requirements of creating, per-forming or appreciating dramatic works and provides anenvironment with a plentiful selection of high-qualitydocumentary and artistic resources. Art books, videos andfilms on theatre are made available as tools to stimulatestudents’ creativity, supply food for thought and enrichtheir knowledge of the world of drama.

Activities that take place in class must also be extendedoutside the classroom. Theatre is a living art, and it isimportant that students participate, in school and else-where, in activities that involve artists and other creators.They must also have opportunities to attend professionaltheatre performances, visit theatrical venues and meetartists and craftspeople who work in the theatre. Suchcontact allows students to experience the intensity of anartistic experience firsthand and make a sensitive inter-pretation of it, undistorted by another’s vision or the lim-itations of a media format. It helps students becomecommitted and culturally active creators, performers andspectators. These experiences can also lead them to acareer in the arts.

The notion of “play” is central to the drama class. Dramaplays with interpretation of character—playful or serious—and draws on a set of conventions that govern the way

a role is to be performed or appreciated. These conven-tions are determined not only by the subject, but also bythe cast of players who construct a dramatic situation inspace and time. They are defined through observation,imitation and improvisation of behaviours associated withthe characters being explored or played on the stage.

Complex and MeaningfulLearning Situations

In Secondary Cycle One, the emphasis is placed onauthenticity, expressiveness and the search for original-ity3 in the creation and performance of dramatic works.The learning situations should also be sufficiently com-plex and meaningful. Such situations are meaningfulwhen they elicit students’ interest and commitment, stim-ulate their thinking and prompt them to find personalsolutions to the problems posed by the situations. The sit-uations are complex when they incorporate subject-spe-cific knowledge and skills within a problem that can giverise to varied answers, present students with reasonablechallenges and generate creative work.

Whether creating, performing or appreciating dramaticworks, students are almost always interacting with others.They experience the strengths, challenges and synergy ofteamwork. The interactions take place on more than onelevel: between the members of a team, between the char-acters and between performers and audience. In drama,communication is validated in the eyes of partners andaudience. This interaction influences both the process ofcreation or performance and its result. Students must takeit into account by aiming for plausibility and making useof different theatrical devices or conventions.

The Teacher: Guide, Expert, GroupLeader and Cultural Mediator

Drama teachers play a determining role in helping stu-dents to become involved on a personal level in the processof creation or performance. They propose varied learningsituations that pose appropriate challenges and offer stu-dents opportunities to develop, consolidate and mastertheir competencies. They act as both guides and expertswith their students, accompanying and supporting themthrough the learning and evaluation process. They some-times play the role of group leader and encourage reflec-tion and exchanges of ideas that emphasize theinteraction required by teamwork. Finally, they play therole of cultural mediator,4 able to communicate their pas-sion for the art and establish links between past and pre-sent or between different forms of the art.

Students: Active Participants Responsiblefor Their Own Learning

Students take a leading role in their education, since noperformance or communication is possible without theiractive commitment. In response to stimuli for creation orperformance within an experimental context, they seekto create characters and stories that reflect themselvesand give a personal stamp to their performances. Theymust also pay attention to clichés and try to transcendthem. Their choices reflect a desire to become familiar

Pedagogical Context

3. In education, a production is authentic and original when it reflects astudent’s personal and committed search, and goes beyond clichés.

4. This expression is adapted from the French passeur culturel, a term coinedby Jean-Michel Zakhartchouk in his book L’enseignant, un passeur cul-turel (Paris: ESF, 1999).

DramaArts EducationQuébec Education Program

345Chapter 8

with and to control certain aspects of performance, play-writing and theatricality in order to better communicatetheir identity and their world-view. When students arerequired to appreciate dramatic works, they discover theimportance of distancing themselves from their produc-tions or those of others in order to put their learning touse and apply it to subsequent productions. Studentsrecord the steps of their creation, performance and appre-ciation, thus charting the course they have followed andits end result. This helps them to become aware of theirlearning processes and fosters the transfer of subsequentlearning into similar situations or other contexts.

Evaluation as Support for Learning

Evaluation must be considered as a support for learning.This presupposes that each learning situation includes asystem of regulation that allows adjustments to be madeto help develop competencies. For this reason, it is moreaccurate to speak of a learning and evaluation situation.Regulation can include direct observations or observa-tions made using verification, self-evaluation or coevalu-ation checklists. The use of other information-gatheringtools, such as the electronic portfolio, is recommended torecord creations or performances of more substantialworks. Teachers and students will thus be able to seeprogress in the development of competencies and toadjust the methods used to achieve the expected level ofdevelopment at the end of the cycle.

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To create a dramatic work is to imagine characters andto put them into action based on situation scenarios. Byengaging in the creative dynamic, students mobilize theirpersonal and cultural resources. Inspired by their realityand imagination, their fictitious worlds reflect their per-sonality, experiences, aspirations and world-view.Students develop their creativity through the simultane-ous action of creative imagination and divergent and con-vergent thinking in increasingly complex situations ofimprovisation and organization.

In Secondary Cycle One, students learn how to make useof dramatic language and the theatrical conventions andpractices in a more conscious and personal manner. Theircommunicative purpose becomes more defined and issometimes aimed at a target audience. They take advan-tage of their cultural references and refine their creations.They draw on the phases and movements of the creativedynamic to create characters and stories that reflectthemselves and people they know or those whom theyimagine. They may do so by improvising in a spontaneousor prepared manner, using a variety of stage elements, orby writing.

The stimuli for creation made available to students maybe familiar, fictitious, realistic or fantastic and inspired bya social or historical context, as well as by the broad areasof learning. These stimuli must encourage such attitudesas openness, respect, a taste for challenge, success andsurpassing oneself. To create their works, students inter-act with their classmates most of the time, but they canalso work individually. They call on a variety of resources:visual, sound, text and electronic materials.

Focus of the CompetencyWhen presenting their creative work to their peers, theyuse appropriate subject-specific vocabulary. In presentingtheir dramatic creations, sharing aspects of their experi-ence with their classmates and describing their methods,students integrate their learning more effectively andlearn to apply it in other creations and situations of per-formance or appreciation.

The key features of this competency describe its maindimensions. They combine to form a dynamic movementthat manifests itself at various moments during the cre-ative experience. Throughout the process, students arethus encouraged to use creative ideas and elements ofdramatic language and techniques, to structure theirwork, to review it or to share their experience.

COMPETENCY 1 Creates dramatic works



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Key Features of Competency 1

Evaluation Criteria

End-of-Cycle Outcomes

– Coherent relationship between the stimulus for creation, the development of ideas, the development processand the result of his/her creation

– Varied use of the elements of the language of drama– Coherent organization of elements of dramaturgy– Original use of the elements of the language of drama– Integration of periods of reflection and review into the creative experience– Effective use of elements of the language and technique of drama

By the end of Secondary Cycle One, stu-dents make conscious use of the creativedynamic, most often autonomously. Theirproductions convey their perception ofreality, are authentic and reflect a searchfor originality and expressiveness. Duringthe creative process, students exploreideas as well as the language of dramaand its techniques in a personal and variedway, in accordance with their creativeintentions. The production grows out of acoherent and complex organization of itscomponents. Students make certainadjustments to refine their work. This is almost always done through interaction and collaboration with their peers.Students describe and comment on their creative experience and identify what theyhave learned from it as well as the strate-gies and methods they used. They antici-pate the transfer of learning to similarcontexts or other subject-specific contexts.

Uses ideas to create a dramatic work

Is open to a stimulus for creation • Is receptive to ideas, images,emotions, sensations or impressions evoked by the stimulus • Keepsrecords of his/her ideas • Explores various ways of conveyingcreative ideas through dramatic action • Chooses dramatic actionsthat hold his/her interest and envisions his/her creative project

Uses elements of dramatic

language and technique

Experiments, through improvisation, withelements of performance, playwritingand theatricality • Makes use of his/herdramatic experiences • Chooses themost meaningful elements in relation tohis/her creative intention and perfectsmethods for using these elements

Organizes his/her dramatic creation

Experiments with ways of linking dramatic scenes• Organizes the improvisation material based onthe creative intention • Reviews his/her dramaticchoices and makes adjustments • Refines certainelements of his/her creation, if necessary

Shares his/her dramatic creation

experience

Analyzes his/her creative intention and process • Keepsrecords of his/her ideas • Identifies the importantelements of his/her experience and its characteristics• Identifies what he/she has learned and the methodsused

Creates

dramatic works

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To perform dramatic works is to re-create a fictitious worldwith the intention of communicating it to others. Throughperformance, students explore the possible meanings ofa work in order to propose an interpretation. The inter-pretation is revealed through their body and voice, whichbecome expressive and communicative instruments.Students adopt a way of being, thinking and feeling thatis not necessarily their own. To achieve this, they must beopen to the diversity of people and human behaviours aswell as to the world of feelings and emotions.

One of the important features of the competency lies inthe assimilation of a work’s dramatic content, expressivecharacter and specific dramatic language as well as atti-tudes and strategies for conveying its meaning. When per-forming a work, students compare their way of using thelanguage, conventions and practices of drama to thoseof the playwright or creator, who may be a classmate ora professional artist. Their contact with a vision externalto their own and their venture into the creative universeof another person helps them to explore other ways ofrepresenting situations and bringing characters to life. Thisdevelops their knowledge of technique, language and cul-ture. Moreover, students’ occasional collaboration in thedifferent steps of a theatrical performance in which theyare playing before an audience5 introduces them to theworld of artistic productions and its realities. This also pro-vides an opportunity for students to state and communi-cate who they are. Finally, by reporting on their performanceexperience and on how they proceeded, the students areable to better integrate their learning and apply it to theperformance, creation or appreciation of other dramaticworks. The key features of the competency thus combine

Focus of the Competencyto form a dynamic movement that manifests itself at var-ious moments during the performance experience.

To enable students to exercise the competency, the learn-ing or evaluation situations should focus on a perfor-mance that draws on the language of drama and itstechniques, and deals with various aspects related to per-formance, dramaturgy and theatricality. Students performbefore the other students in their class or school most ofthe time, but on occasion they may do so before a gen-eral audience. The situations should develop throughaction, in an experimental context, and contain sponta-neous or structured improvisations as well as the explo-ration of various styles and genres, for presentation beforean audience. Students perform dramatic works from arepertoire covering different historic periods and cultures.They also include their own creations as well as those oftheir classmates. Dramatic works may include basic sto-rylines, excerpts, short works, montages or adaptationsof other texts. To perform their works, students interactwith their classmates most of the time, but they cansometimes also work individually. They make use of a vari-ety of resources: visual, sound, text and electronic mate-rials. When they report on their performance experience,they make use of language competencies, both spoken andwritten, and use appropriate subject-specific vocabulary.

COMPETENCY 2 Performs dramatic works


5. In a school setting, the audience is generally limited; a performance canbe given for another student, a team, the class or other classes.Occasionally, it can be given in a larger auditorium, for all students atthe school, their parents or the general public.


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Evaluation Criteria


– Effective use of his/her performance resources in relation to the dramatic content of the work– Relevance of his/her theatrical choices in relation to the dramatic content of the work– Consistent use of conventions for unified performance– Original use of dramatic language and theatrical techniques– Integration of reflection and review into the performance experience

By the end of Secondary Cycle One, stu-dents link actions in sequence so as tobring out the expressive elements of thework and the characters. They use dra-matic conventions and make use of theelements of dramatic language and tech-niques in their performance of the work.Their choices take into account the con-tent of the work and its historical ele-ments, if applicable. They use a variety ofimprovisational situations to enrich theirperformance. This is almost always donein interaction and collaboration with otherstudents. They harmonize their personaland team choices in order to produce aunified performance. Students describeand comment on their performance expe-rience and identify what they have learnedfrom it as well as the strategies and meth-ods they used. They anticipate the trans-fer of learning to similar contexts or othersubject-specific contexts.

Becomes familiar with the dramatic content of the work

Immerses himself/herself in the work and identifies elements of dramaticlanguage • Recognizes the meaning and, if applicable, the historicalaspects that may affect the performance • Experiments with variousways of conveying the dramatic content through performance strategies

Applies elements of dramatic

language

Experiments with elements of perfor-mance, playwriting or theatricality thatare relevant to the character and action • Makes use of sensory and kinestheticexperiences • Adapts selected elementsof dramatic language to bring outthe character and action • Links thedramatic actions in keeping with thestructure of the work

Respects the conventions

regarding unified performance

Listens to others • Puts establishedconventions into practice and adjustshis/her performance to that of the others

Becomes familiar with the

expressive nature of the work

Experiments with the expressive elements of the work • Adapts theseelements to the performance or to theauthor’s or creator’s intention, if applic-able • Makes use of expressive resourceswhile considering the nature of thework and its communicative purpose

Shares his/her

performance experience

Analyzes his/her communicativepurpose and progress • Identifiesthe important elements of his/herexperience and its characteristics • Identifies what he/she haslearned and the methods used

Performs

dramatic works

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To appreciate a dramatic work is to try to understand itby exploring its diverse meanings and examining it froma critical and aesthetic standpoint. By allowing the workto move them, students adopt a receptive attitude andexercise their function as spectators in an active and vol-untary fashion. Contact with various works—be it theirown, those of their classmates or works from a diverserepertoire—enables students to develop their artisticawareness and their sensitivity to the expressive, sym-bolic, technical and aesthetic qualities of a dramatic work.It also enables them to cultivate an interest in viewingdramatic works and visiting cultural sites and to developpersonal appreciation criteria that will guide their choicesin order to become sensitive and informed viewers.

When students approach a work to analyze it, they areasked to immerse themselves in it and to focus on theiremotional and aesthetic reactions. They then identify itscomponents and structure, taking into account the his-torical context. They identify the expressive or symbolicelements that they find meaningful and relate these tothe feelings elicited in them by the work. To develop theirappreciation, they draw on their own experience, aestheticsensibility and artistic knowledge. Throughout the appre-ciation process, students are encouraged to show respectfor the work, but also for each other and their views ofthe production. By comparing their perception of thework with that of others, students develop their under-standing and refine their judgment. Students can thenexplain what they have learned about themselves, theworks and the artists, and describe the methods they usedto learn. In sharing their appreciation experience throughoral and written communication, and in reporting on their

Focus of the Competencystrategies, students increase their awareness and inte-gration of their subject-specific learning and competencies.

The situations in which students appreciate dramaticworks must be focused on the language of drama andtechnique, and deal with the aspects of performance,playwriting and theatricality that were addressed in class.The works that students are called upon to appreciateinclude their own creations and those of their classmates,as well as the professional productions they haveattended during educational outings and excerpts ofworks viewed in class. Depending on the situation, worksmay include basic storylines, excerpts from plays, com-plete plays, montages or adaptations of other texts. Theyare drawn from various historical periods, cultures, genresand aesthetic currents.

When appreciating a work, students refer to an age-appropriate cultural experience, to the content of works orexcerpts they have observed and to visual, audio or elec-tronic documentary sources. They take into account appre-ciation criteria that have been determined by theirclassmates and the teacher. These criteria may relate to thedevelopment of the subject or stimulus for creation, theuse of elements of the language of drama and techniques,emotions or impressions they have felt, and historicalaspects of the work. Most of the time, students appreci-ate a work by comparing their observations and sharingtheir perception of the work with others, but sometimesthey also appreciate the work individually. Studentsexpress their appreciation either orally or in writing anddraw on their language competencies as they integratethe subject-specific vocabulary into their communications.

COMPETENCY 3 Appreciates dramatic works



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Evaluation Criteria


– Coherent relationship between components of the work, what he/she has felt and his/her appreciation– Relevance of the historical aspects identified– Pertinence of the subject-specific elements identified to support his/her appreciation– Effective use of subject-specific vocabulary to communicate his/her appreciation– Appropriate use of spoken and written language to communicate his/her appreciation

By the end of Secondary Cycle One, stu-dents identify the components of a dra-matic work, as well as symbolic andexpressive elements that move them. Theymake connections between these ele-ments, historical aspects and what theyhave felt. Students develop their appreci-ation with the goal of communicating it.Their communication reflects their per-sonal interpretation of the work, based onpreviously defined criteria, additionalinformation that they have researched,and discussions with their classmates andteacher. Their appreciation incorporatesaspects of the expressive and symbolicqualities of the work, and takes intoaccount the context in which it was pro-duced. Using the appropriate subject-spe-cific vocabulary, students describe andcomment on their appreciation experienceand identify what they have learned andthe strategies and methods they used.Theyshow an interest in the comments of otherstudents and in the diversity of ethical,aesthetic and critical opinions expressed.

Analyzes an excerpt of a work

Immerses himself/herself in the work and identifies itscomponents • Identifies significant elements, basedon a variety of criteria • Identifies historical aspects, ifapplicable, using available information • Makesconnections between these elements

Interprets the meaning of the work

Identifies expressive and symbolic elementsand establishes a relationship with whathe/she felt • Makes connections betweenthese elements

Makes a critical and aesthetic judgment

Reviews his/her prior appreciation of the work inrelation to the historical context • Builds his/herarguments taking criteria into account andcommunicates his/her point of view

Shares his/her appreciation experience

Identifies the important elements of his/herexperience and its characteristics • Identifies whathe/she has learned and the methods used

Appreciates

dramatic works

LEARNING CONTENT RELATED TO COMPETENCIES AND TO ELEMENTS COMMON TO ALL ARTS SUBJECTS

DR

AM

A

■

CREATES

dramatic

works

PERFORMS

dramatic

works

APPRECIATES

dramatic works

BASIC

LEARNING

BASIC

LEARNIN

G

BASIC LEARNING

ATTITUDES

CREA

TIVE

DYNAMIC

STIMULI FOR

CREATION

■ VOCABULARY

■ PERFORMANCE

■ THEATRICALITY

■ PLAYWRITING

DRAMATIC ANDTECHNICAL LANGUAGE

■ STRATEGIES

■ CULTURAL REFERENCES

■ DRAMATIC REPERTOIRE

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DramaArts Education

The program content6 corresponds to all the resourcesthat students assimilate in order to create, perform andappreciate dramatic works, and that they can use inde-pendently by the end of the cycle in complete, complexand meaningful learning situations. In addition to the pro-gram content listed below, the elements common to allfour subjects presented in the Arts Education section mustbe taken into account.


Program Content

6. The elements of program content in italics represent new additions tosecondary school content. Elements in normal font serve as a reminderof the essential knowledge acquired in elementary school that can beapplied in secondary school.

Dramatic and Technical Language

Characterization

Body (attitude, gestures, direction ofgaze, rhythm, gait, actions)

Voice (range, accent, silence, vocaleffects)

Ensemble work

Crowd scene

Body techniques and expression

Exaggeration

Flexibility

Opposition

Active relaxation

Energy

Character

Distinctive traits (moral, psychologi-cal, physical)

Motivation

Role in the dramatic action

Historical characteristics

Playwriting methods

Basic storyline

Writings for the stage

Dramatic texts

Dramatic structure

Dramatic action

Dramatic motives

Costuming

Function and use of costume acces-sories

Stage set

Function and use of objects (propsand elements of scenery)

Visible set changes (scenery)

Performance space

Organization of space

Division of the performance space(wings, proscenium arch, downstage,upstage, etc.)

Performance Playwriting Theatricality

Strategies

– Use observation, listening, imitation, and action/reaction to improve on his/her creation or perfor-mance

– Consult each other to choose and validate his/herchoices according to the communicative intention

– Use a variety of reading and analysis procedures– Use a variety of methods to become familiar with

the language of drama and its techniques– Use different performance techniques to improve

communication with the audience– Use different memorization procedures– Use different methods to develop his/her percep-

tive acuity and observations

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Vocal techniques

Voice placement (breathing, flexibil-ity, relaxation, projection, articula-tion, pronunciation, vocal techniques,dynamic range)

Diction (stress, rhythm, intonation)

Types of discourse

Aside

Stage directions

Dialogue

Genres

Comedy

Drama

Conventions

Dramaturgical treatment of time

Dramaturgical treatment of space

Theatrical space

Stage/audience relationship (apronstage, semi-circle, multiple playingareas)

Lighting

Function and use of lighting

Simple lighting effects

Sound environment

Function and use of sound

Sound (sound effects, voice, music)

Stage directing

Blocking

Response to performance directions

Response to sound and visual cues

Adjustment of his/her performanceto that of his/her partner(s)

Conventions related to unified per-formance

Styles of theatre

Performance in masks

Body shadows

Marionettes

Clown performance

Black theatre

355Chapter 8


Energy Adaptation Blackout

Hamming Basic storyline Downstage

Improvisation Comedy Elizabethan stage

Italian Conflict Italian stage

Line of dialogue Coup de théâtre Performance

Motivation Dialogue Performance space

Opposition Drama Playing area

Overacting Dramatic action Rhythm

Performance Dramatic progression Set design

Projection Dramatic text Stage

Rehearsal Dramatic writing Stage engineering

Unified performance Genre Stage left

Monologue Stage right

Repertoire Theatrical conventions

Stage directions Theatrical space

Writing for the stage Upstage

Wing


Subject-specific vocabulary enriches the vocabulary students have developed in the language of instruction.It is put into practice during their creations and performances and is particularly useful for appreciatingdramatic works and for communicating this appreciation.

Vocabulary


356

The works or excerpts are drawn from variousartistic periods. These excerpts may come fromthe Québec theatre repertoire and that ofdifferent cultures, and represent a variety ofaesthetic currents, genres and styles. Studentscan also refer to theatre performances they haveattended. Certain excerpts may also be takenfrom cinema or the media.

– Students’ excerpts or productions related to thesubject-specific content

– Students’ excerpts or productions related to theeducational aims of the broad areas of learning

– A minimum of 12 excerpts of works from differenthistorical periods and cultures

– A minimum of five excerpts of dramatic texts fromdifferent historical periods and cultures

Drama appreciation repertoire Cultural references

Type of excerpts

Cultural references are significant cultural elements that are related to drama and whose use in theclassroom allows students to enrich their vision and understanding of the world in which they live. Theyenable students to make concrete connections with the subject, to recognize its reflections and livingpresence in their environment, and to understand the dynamic influence of the arts in society. Theselection of these resources must take into account their contribution to students’ education, as well asregional differences and the local community.

Cultural experiences: theatre productions staged at school or in other cultural sites, meetings with artists or professionalcreators (playwrights, actors, scenic artists, lighting designers, etc.), exhibits (set design, costumes, productionphotography, models, etc.), public readings, professional rehearsals, conferences on theatre, theatre festivals, etc.

Elements of theatre history: historical context of the works studied; theatre aesthetics, artistic periods, styles,genres, etc.

Literature: dramatic texts (young audience and general public) taken from Québec and foreign repertoires, non-theatrical texts (poems, novels, short stories, historical texts, etc.), general publications on theatre (books and specializedmagazines).

Cultural sites: theatre, costume and set production workshops, art schools, documentation centre, cultural centre,auditorium, etc.

Careers related to theatre: author, actor, stage director, playwright, scenic artist, stage manager, lighting designer,costume designer, artistic director, theatre critic, cultural activities organizer, columnist, drama teacher, etc.

Media: dramatic texts, documents on theatre, television or film adaptations of plays, television programs, documentariesor films on theatre, television plays, radio plays, sound recordings, videocassettes or DVDs, cultural programs, advertisingfor a show (press releases and reviews, advertisements, interviews, programs, posters, invitation cards), Web pages orsites of companies announcing their shows and the venues, etc.

Works from the dramatic repertoire: see the section Drama appreciation repertoire.


357Chapter 8

Corvin, Michel (ed.). Dictionnaire encyclopédique du théâtre. Paris: Larousse-Bordas, 1998.

Couty, Daniel and Alain Rey (ed.). Le théâtre. Turin: Larousse, 2001.

Danan, Joseph and J. P. Ryngaert. Éléments pour une histoire du texte de théâtre. Paris:Dunod, 1997.

David, Martine. Le théâtre. Paris: Belin, 1995.

Degaine, André. Histoire du théâtre dessinée: De la préhistoire à nos jours, tous les tempset tous les pays. Saint-Genouph: Nizet, 1998.

Féral, Josette. Mise en scène et jeu de l’acteur, entretiens: L’espace du texte, vol. 1.Montréal: Jeu; Carnières, Lansman, 2001.

———. Mise en scène et jeu de l’acteur, entretiens: Le corps en scène, vol. 2. Montréal:Jeu; Carnières, Lansman, 2001.

———. Les chemins de l’acteur: Former pour jouer. Montréal: Québec Amérique, 2001.

Gaulme, Jacques. Architectures scénographiques et décors de théâtre. Paris: Magnard, 1985.

Girard, Gilles, Réal Ouellet and Claude Rigault. L’univers du théâtre. Paris: PUF, 1978.

Hornbrook, David. Education in Dramatic Art. Oxford: Basil Blackwell, 1989.

Hubert, Marie-Claude. Histoire de la scène occidentale de l’Antiquité à nos jours. Paris:Armand Colin (Collection Cursus), 1992.

Knapp, Alain. Une école de la création théâtrale. Arles: Actes Sud (Collection Théâtre Édu-cation, no 7), 1993.

Lafon, Dominique (ed.). Le théâtre québécois 1975-1996. Ottawa: Fidès.

Lecoq, Jacques. Le corps poétique, un enseignement de la création théâtrale. Actes-SudPapiers, 1991.

Legris, R. and others. Le théâtre au Québec, 1825-1980. Montréal: VLB, Société d’histoiredu théâtre du Québec, Bibliothèque nationale du Québec, 1988.

Martens, Paul. Nouveau solfège de la diction. Paris: Librairie théâtrale, 1986.

Morgan, Norah and Juliana Saxton. Teaching Drama: A Mind of Many Wonders.Portsmouth (New Hampshire): Heineman, 1996.

O’Neill, Cecily. Drama Worlds: A Framework for Process Drama. Portsmouth: Heineman, 1989.

O’Toole, John. The Process of Drama: Negotiating Art and Meaning. New York: Routledge,Chapman and Hall, 1992.

Pavis, Patrice. Dictionnaire du théâtre. Paris: Messidor/Éditions sociales, 1987.

Pierron, Agnès. Le théâtre: Dictionnaire de la Langue du Théâtre, mots et mœurs duthéâtre. Paris: Le Robert (Collection Usuels), 2002.

———. Le théâtre: Ses métiers, son langage. Paris: Hachette (Collection ClassiquesHachette), 1994.

Rodary, G., Grammaire de l’imagination, Introduction à l’art d’inventer des histoires. Paris:Éditions Messidor, 1986.

Ryngaert, Jean-Pierre. Introduction à l’analyse du théâtre. Paris: Bordas, 1991.

Stanislavski, Constantin. La formation de l’acteur. Paris: Petite Bibliothèque Payot, 1986.

Ubersfeld, Anne. Les termes clés de l’analyse du théâtre. Paris: Seuil, 1996.

Vigeant, Louise. La lecture du spectacle théâtral. Laval: Mondia, 1989.

Vinaver, Michel (ed.). Écritures dramatiques: Essais d’analyse de textes de théâtre. Arles:Actes Sud, 1993.

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