teacher resource guide: the intergalactic nemesis...

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playhousesquare.org/eduresources Teacher Resource Guide: The Intergalactic Nemesis Live Action Graphic Novel Book One: Target Earth Community engagement and education programs at PlayhouseSquare are made possible by the generous support of foundations, corporations and donors. The lessons and activities in this guide are driven by the Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects (2010) which help ensure that all students are college and career ready in literacy no later than the end of high school. The College and Career Readiness (CCR) Standards in Reading, Writing, Speaking and Listening, and Language define general, cross-disciplinary literacy expectations that must be met for students to be prepared to enter college and workforce training programs ready to succeed. 21st century skills of creativity, critical thinking and collaboration are embedded in the process of bringing the page to the stage. Seeing live theater encourages students to read, develop critical and creative thinking and be curious about the world around them. This Teacher Resource Guide includes background information, questions, and activities that can stand alone or work as building blocks toward the creation of a complete unit of classroom work. Before the Show Synopsis About the Art Form About the Playwright Theater Conventions Coming to the Theater Pre-Show Activities Engage and Respond A History of Radio Drama in the U.S. Radio Drama Research Post-Show Activities Sound War of the Worlds Create Your Own Graphic Novel Write a Theater Review Critical Response Questions The following is a partial list of Common Core State Standards for English Language Arts & Literacy, History/ Social Studies, Science and Technical Subjects that align with the performance, lessons and activities found in the Teacher Resource Guide: College and Career Readiness Anchor Standards for Reading Key Ideas and Details 1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.

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playhousesquare.org/eduresources

Teacher Resource Guide: The Intergalactic Nemesis Live Action Graphic NovelBook One: Target Earth

Community engagement and education programs at PlayhouseSquare are made possible by the generous support of foundations, corporations and donors.

The lessons and activities in this guide are driven by the Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects (2010) which help ensure that all students are college and career ready in literacy no later than the end of high school. The College and Career Readiness (CCR) Standards in Reading, Writing, Speaking and Listening, and Language define general, cross-disciplinary literacy expectations that must be met for students to be prepared to enter college and workforce training programs ready to succeed.

21st century skills of creativity, critical thinking and collaboration are embedded in the process of bringing the page to the stage. Seeing live theater encourages students to read, develop critical and creative thinking and be curious about the world around them.

This Teacher Resource Guide includes background information, questions, and activities that can stand alone or work as building blocks toward the creation of a complete unit of classroom work.

Before the Show Synopsis About the Art Form About the Playwright Theater Conventions Coming to the Theater

Pre-Show Activities Engage and Respond A History of Radio Drama in the U.S. Radio Drama Research

Post-Show Activities Sound War of the Worlds Create Your Own Graphic Novel Write a Theater Review Critical Response Questions

The following is a partial list of Common Core State Standards for English Language Arts & Literacy, History/Social Studies, Science and Technical Subjects that align with the performance, lessons and activities found in the Teacher Resource Guide:

College and Career Readiness Anchor Standards for ReadingKey Ideas and Details1. Read closely to determine what the text says explicitly

and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.

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playhousesquare.org/eduresources

Craft and Structure4. Interpret words and phrases as they are used in a text,

including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone.

5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole.

6. Assess how point of view or purpose shapes the content and style of a text.

Integration of Knowledge and Ideas7. Integrate and evaluate content presented in diverse formats

and media, including visually and quantitatively, as well as in words.

8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the relevance and sufficiency of the evidence.

9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the authors take.

Range of Reading and Level of Text Complexity10. Read and comprehend complex literary and informational

texts independently and proficiently.

College and Career Readiness Anchor Standards for WritingText Types and Purposes2. Write informative/explanatory texts to examine and convey

complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

Production and Distribution of Writing4. Produce clear and coherent writing in which the development,

organization, and style are appropriate to task, purpose, and audience.

5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.

Research to Build and Present Knowledge7. Conduct short as well as more sustained research projects

based on focused questions, demonstrating understanding of the subject under investigation.

8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and integrate the information while avoiding plagiarism.

9. Draw evidence from literary or informational texts to support analysis, reflection, and research.

Range of Writing10. Write routinely over extended time frames (time for

research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

College and Career Readiness Anchor Standards for Speaking and Listening

Comprehension and Collaboration1. Prepare for and participate effectively in a range of

conversations and collaborations with diverse partners, building on others’ ideas and expressing their own clearly and persuasively.

2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.

3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.

Presentation of Knowledge and Ideas4. Present information, findings, and supporting evidence

such that listeners can follow the line of reasoning and the organization, development, and style are appropriate to task, purpose, and audience.

6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or appropriate.

College and Career Readiness Anchor Standards for LanguageConventions of Standard English1. Demonstrate command of the conventions of standard

English grammar and usage when writing or speaking.

Knowledge of Language3. Apply knowledge of language to understand how

language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

Vocabulary Acquisition and Use6. Acquire and use accurately a range of general academic

and domain-specific words and phrases sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

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THE INTERGALACTIC NEMESISSynopsis:The year is 1933. Pulitzer Prize-winning reporter Molly Sloan and her intrepid research assistant Timmy Mendez team up with a mysterious librarian from Flagstaff, Arizona named Ben Wilcott. Together, they travel from Romania to Scotland to the Alps to Tunis to the Robot Planet and finally to Imperial Zygon to defeat a terrible threat to the very future of humanity: an invading force of sludge-monsters from outer space known at the Zygonians.

The Characters:Molly Sloan is a Pulitzer Prize-winning reporter and daughter of the millionaire William Randolf Sloan. She left her fiancée at the altar to chase down the story that won her her first Pulitzer. Now she’s chasing down a lead that might just win her a second!

Timmy Mendez is Molly’s brilliant and intrepid assistant. Native Texan. Harvard graduate. He left the pig farm to live the life of a jet-setter. His innocence is both his greatest strength and biggest weakness.

Ben Wilcott is a mysterious stranger, a librarian from Flagstaff. He’s the only one who knows first–hand the terror of the Zygonians, but his story is so outrageous that no one will believe him. Can he convince Molly and Timmy in time to save the planet?

Dr. Larry Webster is a brilliant scientist and former fiancée of Molly Sloan. He has just succeeded in building the very first Galactascope. Now all he needs to do is win back the love of Molly Sloan.

Natasha Zorokov is the laboratory assistant for Dr. Webster. Oh, and she’s also a Soviet spy looking for atomic secrets! Her loyalties may be wavering, however, as her admiration for Dr. Webster grows and her memories of Siberia gain strength.

The Robots are the inhabitants of the Robot Planet, Robonovia. They are allies of Molly Sloan and friends. Their programming does not allow them to be violent…that is, unless someone were to hack into the Cerebretron and change their programming.

Mysterion the Magnificent was a world famous mesmerist and entertainer. He can control the mind of anyone under his gaze and is an expert on medieval torture devices. He was killed in Book One by Molly Sloan and her team. But then who’s doing all the evil minded–control tricks now?

“ Something you simply must experience if you are a fan of awesome.” ~collider.com

Teacher Resource Guide playhousesquare.org/eduresources

“A must-see!” – The Austin Chronicle

LIVE-ACTION GRAPHIC NOVEL

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ABOUT THE ART FORMScience FictionScience fiction is a popular genre in literature, radio, television and film. It focuses on the impact of imagined science on society or individuals. Popular features of classic “sci-fi” include alien races, robots, time travel, and world domination (which are all found in the alternate reality of THE INTERGALACTIC NEMESIS). While Jules Verne is considered one of the first science fiction writers, the genre had a golden age in the 1930s, the same era that provides the backdrop for THE INTERGALACTIC NEMESIS.

Radio DramaRadio drama is a form of performance that is entirely acoustic. Without any visual component, the audio storytelling form relies on dynamic voice acting, music and sound to convey plot and meaning. Popular in the 1930s and ‘40s, scripted radio dramas were performed and broadcast to audiences who would excitedly tune in (before television was common in every household).

Foley DesignA Foley artist creates sound effects for film, television and radio. Using many different kinds of shoes and lots of props, the Foley artist can replicate sound and trick the ear into thinking they are hearing the “real” event (such as a train going by or a door slamming). Performing Foley requires the artist to study the way people walk and move along with the elements of a sound so that they can replicate it realistically. The term Foley artist is named after Jack Donovan Foley, one of the men who helped add sound to Universal Studios’ Showboat after the rival movie studio Warner Brothers made history with their “talkie,” The Jazz Singer.

Graphic NovelGraphic novels are stories told though comic-strip panel artwork. In this form of storytelling, images are juxtaposed in a deliberate sequence, intended to convey information and produce an aesthetic response in the viewer. Sometimes, the form includes words along with the images and often the pictures tell the story without any words.

For additional information: scholastic.com.

About the Playwright

Jason Neulander is a writer, director and producer based in Austin, Texas. From 1994 to 2008, Neulander was the founder and Artistic Director of Salvage Vanguard Theater, where he directed and produced more than fifty world premiere plays, musicals and operas. The Austin American-Statesman stated: “Neulander aims to change the world. ... Unlike most of his artistic compatriots, he is winning.” In 2004, 2005 and 2007 he was voted “Best Theatre Director” in the Austin Chronicle “Best of Austin” readers’ polls, with works staged at Salvage Vanguard Theater in Austin, The Playwrights’ Center in Minneapolis, Portland Center Stage, The Guthrie, The Public Theater, to name a few.

From 2006 to 2009, his radio play The Intergalactic Nemesis played more than 30 venues coast-to-coast, including sold out performances at the 1,100-seat Wortham Center in Houston and the 1,200-seat Paramount Theatre in Austin. In 2010, he authored and published a comic book of the Nemesis story, with artwork by Tim Doyle, and produced and directed a “Live-Action Graphic Novel” version featuring projections of art from the comic with live actors, music and sound effects that premiered in its entirety to an audience of 2,100 people at the Long Center for the Performing Arts. He is currently working on a children’s book called The Clowns Come Home. Bio from: http://www.staple-austin.org/guests/

Teacher Resource Guide playhousesquare.org/eduresources

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THEATER CONVENTIONSWe all know that what happens on stage is not real. Yet when we watch a play, we willingly suspend our disbelief. We let ourselves pretend that the characters are real people and not actors, and that the events we see are actually happening. As part of this relationship between the actors and the audience, playwrights and directors often make use of theater conventions.

The following are common techniques that help to tell the story and engage the audience.

DOUBLING: Actors may take on more than one role. In school performances such as The Intergalactic Nemesis, actors almost always play at least two and sometimes three roles. They use costumes, posture and changes in their voices to create different characters.

FREEZING: When certain characters become motionless during a scene, they are not part of the action even though the audience can still see them. This often happens when we are meant to be inside a character’s memory or imagination “taking a moment out of time.” This is also an excellent method to talk with young people about how quickly the human mind works, how we can remember a whole story in the blink of an eye.

DIRECT ADDRESS: Actors often tell their thoughts directly to the audiences. This is a way in which we can hear what an actor is thinking. S/he acts both as a character and as a narrator who gives us important background information and provides his/her own commentary on the action.

NON-CONFORMIST CASTING: We often assume that actors will be cast in the characterization that they are meant to portray. However, characters are sometimes represented by actors of a different gender, race and age. Throughout the history of dramatic arts this has often been the norm – for example, all women characters had to be portrayed by men on Shakespearean, Kabukian and early Christian stages. Today, non-conformist casting, while not viewed as the norm or required, can serve several purposes: occasionally the actor that might not visually fit the part but is most capable of carrying a complex role is cast; sometimes in a small company “doubling” is required; but an important choice for a director or playwright is to intentionally select an actor to explore society’s conceptions about race, gender, sexual orientation and age.

TREATMENT OF TIME: In the few minutes between scenes, any amount of time – even years – can pass. Time can be compressed and “put in fast-forward.” Another commonly used technique is flashback, in which a character remembers events from the past. These memories are so vivid that we actually relive the event with the character, events from the past.

Teacher Resource Guide playhousesquare.org/eduresources

Topics for Discussion One major challenge playwrights face is allowing the audience to see into the minds of their characters. Without having an actor say “I am sad,” how could you let an audience know that a character is thinking or feeling these things?

Imagine that you run into a spaceship full of aliens while strolling through the park. They have never heard of theater and want to know why anyone would want to watch a made-up story being acted out. Explain to these creatures why theater is important and enjoyable.

Ask students to watch characters carefully and observe which characters each actor portrays.

How does The Intergalactic Nemesis follow or break these stage conventions?

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COMING TO THE THEATER! PlayhouseSquare is an exciting venue to see live theater! As the country’s largest performing arts center outside of New York, the not-for-profit performing arts center utilizes the arts to engage individuals and attract more than one million guests per year to 1,000+ annual events. PlayhouseSquare thus acts as a catalyst for economic growth and vitality within the region.

As audience members, you and your students play a vital role in the success of the performances. You are part of a community that creates the theater experience. For many students, this may be their first time viewing a live theater production. We encourage teachers to discuss some of the differences between watching a television show, attending a sporting event or viewing a movie at the cinema. Here are a few examples to start the discussion:

Students are led into the theater and seated by an usher.

Theaters are built to magnify sound. Even the slightest whisper can be heard throughout the theater. Remember that not only can those around you hear you; the performers can too.

Appropriate responses such as laughing or applauding are appreciated. Pay attention to the artists on stage; they will let you know what is appropriate.

There is no food, drink, or gum permitted in the theater.

Photography and videotaping of performances is not permitted.

When the houselights dim, the performance is about to begin. Please turn your attention toward the stage.

After the performance, you will be dismissed by bus number. Check around your seat to make sure you have all of your personal belongings.

Teacher Resource Guide playhousesquare.org/eduresources

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PRE-SHOW ACTIVITIESEngage and Respond Use these tools to enhance your experience of the performance.

Observe• How sound effects are produced?• What elements are used to create atmosphere and

location?• The choices of color, shape, and space on stage, in the

graphics, and in the lighting?• Your own emotional response?

Listen• How does the music add to or work with the visual

elements of the show?• How do the sound effects add to or work with the visual

elements of the show? • How do the actors use their voices to convey character?

Think• How do qualities of color and line convey story and

emotion within the graphics?• How do the images, music, lighting, sound effects and

vocal acting add to the experience of this novel?• What messages about the human experience and

relations do you think the artists are trying to convey?

Feel• Your own responses. What gives you excitement? Do any

elements make you uncomfortable?

College and Career Readiness Anchor Standards for Speaking and ListeningComprehension and Collaboration: 1, 2, 3Presentation of Knowledge and Ideas: 4, 6

College and Career Readiness Anchor Standards for Language: Conventions of Standard English: 1Knowledge of Language: 3Vocabulary Acquisition and Use: 6

Teacher Resource Guide playhousesquare.org/eduresources

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A History of Radio Drama in the U.S. From the 1920s through the 1950s, radio was the central form of mass communication in the United States, and shortly after its invention it quickly developed into a widely used form of entertainment media as well. Initially, music and talk-radio were the central components of most radio stations, but many did not have consistent programming. Often, weather reports were the only regularly scheduled broadcasts.

Radio’s entertainment possibilities expanded in the mid 1920s, when larger stations began to develop programming that used announcers or narrators. These programs used clearly defined openings and closings and were built around specific program ideas or themes. Radio drama began to be produced in 1927, when networks began adapting short stories, and even writing original scripts, for broadcast.

In the early 1930s, national advertisers recognized the potential for radio advertising and became willing to buy airtime and sponsor programs. As this happened, networks competed for their share which resulted in the development of many new program forms. Among the new program types was the serialized drama and as network daytime serials became popular, stations developed daytime schedules, too. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Li’l Abner, Little Orphan Annie, and Popeye the Sailor.

During the middle to late 1940s, radio drama reached its peak in American households, but with the advent of television in the 1950s, radio drama lost some of its popularity, and in some countries, has never regained large audiences. However, recordings of OTR (old-time radio) survive today in the audio archives of collectors and museums, as well as several online sites.

Information adapted from: http://www.balancepublishing.com/golden.htm

Listen to some old-time radio at these websites:www.wpr.org/otr/www.otr.netwww.oldtimeradiofans.comwww.mysteryshows.com/www.otrcat.com www.old

ResearchResearch the ways radio drama and graphic storytelling have been used in the past and present your findings to the class.

College and Career Readiness Anchor Standards for ReadingKey Ideas and Details: 1, 2Craft and Structure: 4, 5, 6Integration of Knowledge and Ideas: 7, 8, 9Range of Reading and Level of Text Complexity: 10

College and Career Readiness Anchor Standards for WritingText Types and Purposes: 2, 3Production and Distribution of Writing:4, 5

Research to Build and Present Knowledge: 7, 8, 9Range of Writing: 10

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Topic: Sound

Content Statement Sound is explored as a form of energy that moves and behaves in predictable ways, depending on the matter through which it moves. Sound is explored as a form of energy that moves in predictable ways, depending on the matter through which it moves.

Sound is produced by vibrating objects and requires a medium through which to travel. The rate of vibration is related to the pitch of the sound.

(Excerpt from the Ohio Revised Science Standards and Model Curriculum, Grades K through Eight, Ohio Department of Education, March 2011)

Basic Sound Effects KitAdapted from http://ruyasonic.com/

You too can be a Foley artist! You can use the tools listed below to unleash your creativity. Select a script or story that you have read and add sounds effects to take the text to a whole new level.

CRASH BOX: made from a metal Christmas popcorn container. Fill it about a third-full with broken coffee mugs, gravel, crushed cans, screws and some toy wooden blocks. Experiment until you get a good sound and then seal the lid on with duct tape.

THUNDER SHEET: 2x4 foot, 16th inch high-impact polystyrene. Look in your local yellow pages for “Plastics” and call around.

WALKBOARD: 2’x3’ doubled 3/4 inch plywood for footsteps. Put tile on one side to get a different sound.

STIFF PLASTIC BAGS: for fire, static, even--with the right motion--marching feet.

CLIP BOARDS: for gun shots. Try to snap them on top of a metal trash can to sound “bigger.”

TOY RATCHET: get the large plastic New Year’s noisemakers. The typical little metal ones sound too small. Ratchets are good for handcuffs, winches and drawbridges.

SLIDE WHISTLE: besides eeeYOOP, it can also be quickly slid back and forth for radars and space sounds.

PLASTIC EGG MARACAS: for jungles, rattlesnakes, weirdness. You could make some with plastic Easter eggs and rice, but many music stores sell them for $2 each and those have a finer gravel that sounds good.

METAL SPOONS/SPATULAS: get a really big pancake flipping spatula and some large metal cooking spoons for great sword fights. Use dinner forks for diner sounds.

PLASTIC TUMBLER: for pouring water. Drop AA batteries in empty tumblers for ice cubes.

VOICE FOLEY: sounds include grunts, groans, breaths, wheezing, humming, buzzing, barking and more!

• Use sound effects sparingly.• Sound effects should support the story and suggest

action, but too many sound effects may make the scene difficult to produce and detract from the story.

• Sound effects that must be timed precisely with the dialog should be done manually – a knock on the door, for instance.

• Sound effects or music that serves as background or mood may be recorded earlier and played back on a boom-box fading in and out as needed. To avoid rewinding tapes, be sure to record several minutes of each background effect.

Teacher Resource Guide playhousesquare.org/eduresources

POST-SHOW ACTIVITIES

HELPFUL HINTS:

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War of the WorldsPerhaps America’s most famous radio drama broadcast is Orson Welles’ War of the Worlds, a 1938 version of the H. G. Wells novel, which convinced large numbers of listeners that an actual invasion from Mars was taking place.

The broadcast started with an introduction noting that the action is set in 1939, a year ahead of the actual broadcast. The program continued as an apparently ordinary radio show, only occasionally interrupted by news flashes describing the mounting action of an invasion by Martians who land in New Jersey and make their way to New York, incinerating and poisoning humans along the way.

The War of the Worlds broadcast contained a number of explanations that it was all a radio play, but if audience members missed a brief explanation at the beginning, the next one didn’t arrive until 40 minutes into the program. It’s estimated that this program fooled approximately one million people.

Read the script entitled “The War of the Worlds” (see link below).

http://www.sacred-texts.com/ufo/mars/wow.htm

College and Career Readiness Anchor Standards for ReadingKey Ideas and Details: 1, 2Craft and Structure: 4, 5, 6Integration of Knowledge and Ideas: 7, 8, 9Range of Reading and Level of Text Complexity: 10

Discuss:1. Do you think you could have been fooled by a radio

broadcast like this? Why?2. Why might people have trusted the “news” they heard

on the radio in the 1930s?3. What events were occurring in 1938 that may have

made people more susceptible to believing they were under attack?

4. Define the concept of ‘’mass hysteria.” Provide examples. How did the concept of mass hysteria influence events in the aftermath of this broadcast?

5. Do you think that it is possible that a fictional broadcast could induce similar mass hysteria today?

College and Career Readiness Anchor Standards for Speaking and ListeningComprehension and Collaboration: 1, 2, 3Presentation of Knowledge and Ideas: 4, 6College and Career Readiness Anchor Standards for LanguageConventions of Standard English: 1Knowledge of Language: 3Vocabulary Acquisition and Use: 6

Create Your Own Graphic NovelCreate a graphic novel based on the story. Your novel may choose to tell the story with words and pictures or with pictures alone. Use the graphic novel template provided or you can use the Comic Creator at: http://www.readwritethink.org/files/resources/interactives/comic/index.html to create a template.

An extended lesson plan can be found at:http://www.readwritethink.org/classroom-resources/lesson-plans/comic-makeovers-examining-race-207.html?tab=4#tabs

College and Career Readiness Anchor Standards for WritingText Types and Purposes: 2, 3Production and Distribution of Writing: 4, 5Research to Build and Present Knowledge: 7, 8, 9Range of Writing: 10

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Write it down!

Write a review of The Intergalactic Nemesis. Like a critic who writes for a newspaper, your job is to review the performance for the public. Identify important elements of reviews, such as the name of the theater and performance, your opinions about the graphic images and voice-acting and your opinions about other artistic elements such as use of sound effects, music and lighting.

Write a philosophical evaluation of the performance. What messages about the human condition were the artists trying to convey? Were the messages specific or universal?

Were the artists successful? Bring your own personal experience to bear on your perception of the performance.

Play Analysis: Review Worksheet(Adapted from Theatrefolk Original Playscripts https://www.theatrefolk.com)

Introduction: What do I know?

Execution: What did they do?

Specifics: What makes this production unique?

Opinion: How did they do?

Recommendation: Is this play worth seeing?

College and Career Readiness Anchor Standards for WritingResearch to Build and Present Knowledge: 9

Introduction: What do I know?

Execution: What did they do?

Specifics: What makes this production unique?

Opinion: How did they do?

Recommendation: Is this play worth seeing?

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Critical Response QuestionsStudents develop their comprehension when they reflect upon what they wondered about, noticed and felt. Prompt students to respond with the following questions:

• How would you describe this performance to someone who hasn’t seen it?

• Have you ever read a graphic novel? If so, how did this performance compare to reading a graphic novel?

• How were special effects executed?

• How was the performance similar to or different from what you expected?

• One major challenge playwrights face is allowing the audience to see into the minds of their characters. Without having an actor say “I am sad,” how could you let an audience know that a character is thinking or feeling these things?

• Why might a theater company use only three actors and not more?

• What makes freezing an effective technique?

• Which forms of communication seemed to have the biggest impact on you:

• Colors?• Lighting?• Vocal work?• Sound effects?• Music?

• What were your feelings during the performance?

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The Intergalactic Nemesis website:• http://www.theintergalacticnemesis.com/

Old-Time Radio information:History:• http://www.balancepublishing.com/golden.htm• http://www.old-time.com/otrhx.html

Listen:• http://www.oldtimeradiofans.com/• http://www.wpr.org/otr/• http://www.otr.net/• http://www.mysteryshows.com/• http://www.otrcat.com/• http://www.old-time.com/

Sound Effects and Foley:• http://ruyasonic.com/• http://www.marblehead.net/foley/• http://www.audiotheater.com/foley.html• http://www.old-time.com/sfx.html

Graphic Novels:Literacy information:• http://www.readingonline.org/newliteracies/jaal/11-02_column/index.html#Anchor-Abou-10142• http://www2.scholastic.com/browse/collateral.jsp?id=1399

Lesson Plans• http://ccb.lis.illinois.edu/Projects/childrenslit/jdbone/lesson_plans.htm• http://ethemes.missouri.edu/themes/1128

Comic Creators:• http://ethemes.missouri.edu/themes/1128• http://www.makebeliefscomix.com/Comix/• http://disney.go.com/surfswell/comiccreator.html.

BooksComic Book History of Comics by Fred Van Lente and Ryan Van Dunlavey. IDW Publishing, 2012. The Foley Grail: The Art of Performing Sound for Film, Games, and Animation. Focal Press; 1st edition, 2009.Graphic Novels: Stories to Change Your Life by Paul Gravett. Aurum Press Ltd, 2005Graphic Storytelling and Visual Narrative (Will Eisner Instructional Books), by Will Eisner. W. W. Norton & Company, 2008.Radio Drama by Tim Crook. Routledge, 1999.The Power of Comics: History, Form and Culture Paperback by Randy Duncan and Matthew J. Smith. Bloomsbury Academic, July 10, 2009.The Sound Effects Bible: How to Create and Record Hollywood Style Sound Effects by Ric Viers. Michael Wiese Productions, 2008.Theatre of the Mind, Writing and Producing Radio Dramas in the Classroom by Don Kisner. Balance Publishing Company, 2004.

RESOURCES

Find Scripts:• http://www.genericradio.com/library.php• http://www.simplyscripts.com/radio_af.html• http://www.otrr.org/pg06a_scripts.htm