Pygmalion Curriculum Guide Ehren Schneider, Centennial High School Anne Haverkamp, Centennial High School

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Table of Contents

Pygmalion Unit Introduction and Rationale……………………………....3 Common Core State Standards…………………………………………...4 Unit Overview & Calendar………………………………………………….6 Essential Unit Questions…………………………………………………...10 Opening Act………………………………………………………………….10

Annotating Documents…………………………………………………10 Obituary……………………………………………………………...12

Code Switching………………………………………………………….17 Excerpt from Brothers and Sisters………………………………..19

Identifying A Common Theme…………………………………………22 Colonizing Wild Tongues…………………………………………..23

Craft Lesson: Hashtag into Narrative Paragraph…………………….26 Gallery Walk……………………………………………………………...29 Introducing the Feminist Perspective………………………………….33 Introducing the Marxist Perspective…………………………………...34

Main Stage……………………………………………………………………35 Reading Pygmalion……………………………………………………...35

Act 1…………………………………………………………………..36 Act 2…………………………………………………………………..36 Act 3…………………………………………………………………..37 Act 4…………………………………………………………………..37 Act 5…………………………………………………………………..37

Character Retrieval……………………………………………………...38 Metaphor Poems………………………………………………………...41 Two­Voice Poems……………………………………………………….43 Silent Discussion………………………………………………………...45 Mini­Debate……………………………………………………………....48 Formatting and Organization of a Dramatic Scene…………………..49

Closing Act…………………………………………………………………….52 Writing A Dramatic Scene……………………………………………….52

Scoring Guide………………………………………………………...53

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Pygmalion Unit Introduction and Rationale George Bernard Shaw’s play Pygmalion is a story of manipulation and change. Specifically the two main characters, Professor Henry Higgins and Eliza Doolittle experience a transformation through their grand experiment. By simply changing Eliza’s speech pattern from a Cockney dialect to an acceptable British English standard, the power structure, social class apparatus and value system are all challenged. Be mindful, however, Eliza has white privilege. Bringing the Cultural Criticism lens with us, how might this play be different if Eliza were written as a woman of color. Is changing how one speaks enough to shift the balance of power in society? In this unit students will learn and apply the skill of using multiple perspectives to analyze text. Specifically students will learn about the Feminist and Marxist perspective, how entrenched opinions about women and men, or the value of money in society contributes to possible stereotyping or misconceptions. This skill is becoming increasingly important in the digital age. The absorption of information for today’s students happens at an alarming rate and students process and formulate opinions quickly. Students now have access to unlimited data from multiple sources, with many not being credible. Due to the amount of information being thrown at students, they spend little time reflecting on the material to analyze it for its value and purpose from different perspectives. Students often accept presented information as fact. The skill of deciphering information and formulating an informed opinion has been lost on many of our kids, even though the expectation is there that this skill is used throughout high school and college. In Pygmalion, the social relationships between the characters are thoroughly examined. The character’s behaviors and dialogue expose enfranchisement concerns and class differences regarding wealth, which influences the established hierarchy. In this specific instance, the silver bullet to this structure is language and its usage. Pygmalion is a theatrical example of the power of words. Pygmalion also addresses identity. Our students are often dismissed by how they speak, how they dress and their age, yet their ideas and what they have to say contains credibility. They experience a connection to Eliza. Her social status as a lowly flower street vendor laboring to meet her financial needs with an alcoholic father at home, is a recognizable situation to many of our students. This connection provides a glimpse of the possibilities education can provide without giving up the identity that has made them who they are. Alternatively, Higgins has an ego­driven, God­like attitude believing he can create an ideal example of a woman from a “so deliciously low­ so horribly dirty” person. Higgins represents many aspects of our current society. Connections can be made to corporate entities selling products with a purpose of changing our citizens to the ideal picture of a person. Links to our

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government, the national educational system, as well as many other entrenched institutions can also be reached. This unit allows students to explore their reality using these perspectives. By understanding these thematic elements and applying the skill of interchanging perspectives, they are able to recognize embedded values and thought­patterns. This recognition provides them the occasion to change their own reality and their future.

Common Core State Standards

RL.11­12.1 ­ Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.

RL.11­12.2 ­ Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they interact and build on one another to provide a complex analysis.

RL12.3 Analyze Characters ­ Analyze the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).

RL12.6 Point of View ­ Analyze a case in which grasping point of view requires distinguishing what directly is stated in a text from what is really meant (eg., satire, sarcasm, irony)

RI12.3 Analyze events ­ Analyze a complex set of ideas or sequence of events and explain how specific individuals, ideas, or events interact and develop over the course of a text.

SL12.1b Work with Peers ­ Work with peers to promote civil, democratic discussions and decision­making, set clear goals and deadlines, and establish individual roles as needed.

SL12.1d Respond Thoughtfully ­ Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and determine what additional information or research is required to deepen the investigation or complete the task.

SL12.2 Integrate Multiple Sources of Information ­ Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the data.

SL12.4 Present Information ­ Present information, findings, and supporting evidence, conveying a clear and distinct perspective, such that listeners can follow the line of reasoning, alternative

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or opposing perspectives are addressed, and the organization, development, substance, and style are appropriate to purpose, audience and a range of formal and informal tasks.

W12.1b Develop Claims ­ Develop claim(s) and counterclaims fairly and thoroughly, supplying the most relevant evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level, concerns, values, and possible biases.W.11­12.3 Write narratives to develop real or imagined experiences or events using effective technique, well­chosen details, and well­structured event sequences.

W.11­12.a ­ Engage and orient the reader by setting out a problem, situation, or observation and its significance, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create smooth progression of experiences or events.

W.11­12.b ­ Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and or characters.

W.11­12.c ­ Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a particular tone and outcome.

W.11­12.4 ­ Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.

W.11­12.5 ­ Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience.

W.11­12.9 ­ Draw evidence from literary or informational texts to support analysis, reflection, and research.

L.11­12.6 ­ Acquire and use accurately 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.

L12.2b Spell correctly

L12.2c Spelling/conventions

L12.3a Vary syntax

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Unit Overview & Calendar (23 days)

In this unit students will learn about the Marxist and Feminists perspectives and the influence that language has on an individual’s identity through the analysis of characters, characterization and relationships between individuals and groups in variety of texts. Students will learn to consider the social and cultural implications of a text and a character’s language from a particular perspective.

Week 1 – Opening Act

Day 1 & 2: Introduction of Unit Themes & Concepts Objectives:

Explain what the term code switching means. Editorialize the implications of code switching in terms of how it affects the individual

being spoken to and the person speaking. Explain the concept of identity as an extension of language. Synthesize information from various mediums to develop theme statements. Demonstrate the ability to annotate text in the expected way.

Activities: Read Obituary, Colonizing Wild Tongues, and Excerpt from Brothers and Sisters. Annotate two articles after modeling. Create theme wall based on readings from all three articles.

Homework: Complete annotating articles, code switching activity questions, gathering quotes graphic

organizer Day 3: Hashtag Lesson Objectives:

Make connections to the themes of the play. Activities:

Creation of hashtag theme, hashtag sentence and personal narrative paragraph.

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Day 4: Photo Carousel Objectives:

Analyze the composition of a scene in a visual medium. Make inferences and predictions about the plot and theme of the play based on the

images. Activities:

Silently view images in groups. Take notes on each image considering setting and characters including descriptions

about posture, facial expression, body language and their position in relation to another character.

Small group discussion. Answer writing prompts.

Homework:

Analysis/Reflective paragraph. Day 5: Introduction to the Feminist Perspective Objectives:

Identify key elements of the feminist perspective. Apply knowledge of the feminist perspective by explaining how these elements shape

textual meaning. Activities:

View film clips from either Legally Blonde or 9 to 5 Quick write on initial response to the characters in the film excerpt listing adjectives that

describe the character. Answer response questions.

Homework: Response paragraph with evidence.

Day 6: Introduction to the Marxist Perspective Objectives:

Identify key elements of the Marxist perspective. Apply knowledge of the Marxist perspective by explaining how these elements shape

textual meaning. Activities:

View film clips from Wall Street, Can’t Buy Me Love, and Secret of My Success. Quick write on initial response to the characters in the film excerpt listing adjectives that

describe the character. Answer response questions.

Homework:

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Response paragraph with evidence

Week 2 & 3 – Main Stage

Day 7 – 11: Read & Listen to Pygmalion Objectives:

Analyze characters motives and interactions using the Marxist and Feminist perspectives.

Compare and contrast two characters from different texts using the Marxist and Feminist perspectives.

Understand how language affects identity. Offer conclusions as to the effect of language on identity.

Activities:

Listen to audio recording of Pygmalion as students read the play. Annotate the play to locate evidence. Use the color marking to track evidence of the

different perspectives. View film clips from My Fair Lady for each act. Answer writing prompt for each day.

Homework: Complete response questions and response paragraphs.

Day 12: Character Retrieval Objectives:

Analyze how a character’s voice and language change due to audience and environment in Pygmalion.

Activities: Revisit the play to find evidence how a character’s identity is influenced by language. Complete Character Retrieval chart.

Homework: Finish retrieval chart.

Day 13: Metaphor Poems Objectives:

Revisit the play to find evidence how a character’s identity is influenced by language using one of the critical perspectives.

Activities: Write a metaphor about a character or a theme from the play. Draw an image of their metaphor. Write a poem about the character concept or theme from the play.

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Homework: Complete metaphor poem.

Day 14: Two Voice Poems Objectives:

Identify competing ideas or concepts in the play demonstrated through character dialogue.

Create a discussion between the characters expressing their competing views using an authentic voice.

Activities: Select two characters from the play and write a dialogue between them expressing

differences perspectives. Homework:

Complete Two­Voice poem. Day 15: Silent Discussion Objectives:

Create an opinion about the characters in the play and the perspectives demonstrated through their use of language.

Activities: Students silently respond to 4 of the eight questions by writing their opinion on a post­it

notes explaining why they feel a certain way. Counter response to expressed opinions. Oral discussion about the competing opinions.

Day 16 & 17: Mini­ Debate (Toulmin) Objectives:

Articulate two sides of an argument and increase exposure to multiple perspectives. Reinforce Toulmin model or argumentative writing.

Activities: Quick write to prompt. Quick review of Toulmin organization structure.. Write supporting/ rejection statement to character’s decision. Group debate.

Homework: Reflective response

Day 18: Formatting and Organization of a Screenplay Objectives:

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Demonstrate the ability to properly format a scene from a play. Activities:

Groups will create a properly formatted 1­page scene.

Week 4 – Closing Act Day 19 – 23: Writing A Dramatic Scene Activities:

Partners will write a script that emulates a scene from Pygmalion using the critical perspectives that also reflects the influence of language on identity.

Essential Unit Questions

1. How do language, environment and audience influence a person’s identity? 2. How does applying a Marxist or Feminist perspective affect an understanding of text? 3. How does a new comprehension gained through interpretation help of hinder your

understanding or enjoyment of a text?

Opening Act

Day 1 & 2

Annotating Documents Teacher Directions: Read the overview and essential questions for the unit. Pass out annotation handout. Have students read the short story Obituary silently and ask them to mark up the text identifying evidence to support an answer to the essential questions. When they have completed their reading, use a document camera, read the story aloud and mark up the text for relevant information to support an answer to the essential questions modeling how an experienced reader identifies important information. Students should mark up text with you. Directions to Students

Read the document silently on your own. Reading is a conversation between the writer and the reader. Sometimes in conversation, you might agreem and other times, you might disagree. Sometimes, the text might confuse you. All of this should be noted in the margin of your paper. Please note:

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Ideas that resonate for you or ideas that you disagree with. Places where historical background is uncovered, where you learn something new or

connect to something you learned previously. Places that make you wonder about what else happened during that time period. What

else do you need to know? Places that you could use in an essay to argue for or against the topic. Strategies that you notice the writer using—quoting experts, using metaphors or

anecdotes, alliteration. After you have silently read and marked your text, collectively annotate the text. Silently write first. Write your individual notes on the large paper. Respond to other people’s notes. Collectively make connections.

Find key pieces of evidence of how the language presented influences a character’s identity. Evidence should be information you want to argue for or against answering why?

Think of photographs, eyewitness accounts, news articles, as well as people you met to support evidence found in article— note those in the margin. These can be used as evidence in your final unit assessment.

Obituary by Lois-Ann Yamanaka

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English class, we got Mr. Harvey. Jerome looks at me and puts his middle finger on the desk to our worst teacher, because Mr. Harvey says for the fiftieth time this year:

“No one will want to give you a job. You sound uneducated. You will be looked down upon. You’re speaking a low-class form of good Standard English. Continue, and you’ll go nowhere in life. Listen, students, I’m telling you the truth like no one else will. Because they don’t know how to say it to you. I do. Speak Standard English. DO NOT speak pidgin. You will only be hurting yourselves.”

I tell Jerry, “No make f-you finger to Mr. Harvey. We gotta try talk the way he say. No more dis and dat and wuz and cuz ’cause we only hurting ourselfs.”

I don’t tell anyone, not even Jerry, how ashamed I am of pidgin English. Ashamed of my mother and father, the food we eat, chicken luau with can spinach and tripe stew. The place we live, down the house lots in the Hicks Homes that all look alike except for the angle of the house from the street. The car we drive, my father’s brown Land Rover without the back window. The clothes we wear, sometimes we have to wear the same pants in the same week and the same shoes until it breaks. Don’t have no choice.

Ashamed of my aunties and my uncles at baby luaus, yakudoshis, and mochi pounding parties. “Eh, bradda Larry, bring me on nada Primo, brah. One cold one fo’ real kine. I rey-day, I rey-day, no woray, brah. Uncap that sucka

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and come home to Uncle Stevie.” I love my Uncle Steven, though, and the Cracker Jacks he brings for me every time he visits my mother. One for me and one for my sister, Calhoon. But I’m so shame.

Ashame too of all my cousins, the way they talk and act dumb, like how they like Kikaida Man and “Ho, brah, you seen Kikaida Man kick Rainbow Man’s ass in front Hon Sport at the Hilo Shopping Center? Ho, brah and I betchu Godzilla kick King Kong’s ass too. Betchu ten dollas, brah, two fur balls kicking ass in downtown Metropolis, nah, downtown Hilo, brah.”

And my grandma. Her whole house smells like mothballs, not just in the closets but in every drawer too. And her pots look a million years old with dents all over. Grandma must know every recipe with mustard cabbage in it. She can quote from the Bible for everything you do in one day. Walks everywhere she goes downtown Kaunakakai, sucks fish eyes and eats the parsley from our plates at Midnight Inn.

And nobody looks or talks like a haole. Or eats like a haole. Nobody says nothing the way Mr. Harvey tells us to practice talking in class.

Sometimes I secretly wish to be a haole. That my name could be Betty Smith or Annie Anderson or Debbie Cole, wife of Dennis Cole who lives at 2222 Maple Street with a white station wagon with wood panel on the side, a dog named Spot, a cat named Kitty, and I wear white gloves. Dennis wears a hat to work. There’s a coatrack as soon as you open the front door and we all wear shoes inside the house.

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“Now let’s all practice our Standard English,” Mr. Harvey says. “You will all stand up and tell me your name, and what you would like to be when you grow up. Please use complete sentences.” Mr. Harvey taps Melvin Spencer on his shoulders. Melvin stands up slowly and pulls a Portagee torture of wedged pants and BVDs out of his ass.

“Ma name is Mal-vin Spenca.” Melvin has a very Portagee accent. Before he begins his next sentence, he does nervous things like move his ankles side to side so that his heels slide out of his slippers. He looks at the ceiling and rolls his eyes. “I am, I mean, I wanna. I like. No, try wait. I going be. No, try wait. I will work on my Gramma Spenca’s pig farm when I grow up cuz she said I can drive the slop truck. Tank you.”

No one laughs at Melvin. Otherwise he’ll catch you on the way home from school and shove your head in the slop drum. Melvin sits down. He blinks his eyes hard a couple of times, then rubs his face with two hands.

Jerry stands up very, very slowly and holds on to the edge of his desk. “My name is Jerome.” His voice, weak and shivering, his fingers white. “I in. OK, wait. I stay in. No, try wait. OK, try wait. I stay. I stay real nervous.” His face changes and he acts as if he has to use the bathroom. He looks out the window to the eucalyptus trees

Jerry continues, “I am going be one concert piano-ist when I get big. Tank you.”

I’m next. Panic hits me like a rock dropped in a hollow oil drum.

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Mr. Harvey walks up to my desk, his face red and puffy like a pink marshmallow or a bust-up boxer. He has red hair and always wears white double-knit pants with pastel-colored golf shirts. He walks like Walter Matthau. Mr. Harvey taps my desk with a red pen.

The muscles in my face start twitching and pulling uncontrollably. My eyes begin darting back and forth. And my lips, my lips—

“I’m waiting,” Mr. Harvey says. Jerry looks at me. He smiles weakly, his face twitching and pulling too.

He looks at Mr. Harvey, then looks at me as if to say, “Just get it over with.”

“Cut the crap,” Mr. Harvey spits. “Stop playing these goddamn plantation games. Now c’mon. We’ve got our outlines to finish today.” Mr. Harvey’s ears get red, his whole face like fire with his red hairs and red face.

“My name Lovey. When I grow up pretty soon, I going be what I like be and nobody better say nothing about it or I kill um.”

“OH REALLY,” he says. “Not the way you talk. You see that was terrible. All of you were terrible and we will have to practice and practice our Standard English until we are perfect little Americans. And I’ll tell you something, you can all keep your heads on your desks for the rest of the year for all I care. You see, you need me more than I need you. And do you know what the worst part is, class? We’re not only going to have to work on your

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usage, but pronunciations and inflections too. Jee-zus Christ! For the life of me, it’ll take us a goddamn lifetime.”

“See,” Jerry whispers, “Now you the one made Mr. Harvey all mad with us, we all going get it from him, stupid.”

I want to tell Jerry about being a concert pianist. Yeah, right. Good luck. How will he ever do it? Might as well drive the slop truck if you cannot talk straight or sound good and all the haoles talk circles around you. Might as well blend in like all the locals do.

Mr. Harvey walks past my desk. “C’mon, Lovey. Start your outline. You too, Jerome.” Sometimes I think that Mr. Harvey doesn’t mean to be mean to us. He really wants us to be Americans, like my kotonk cousins from Santa Ana, he’d probably think they talked real straight.

But I can’t talk the way he wants me to. I cannot make it sound his way, unless I’m playing pretend-talk-haole. I can make my words straight, that’s pretty easy if I concentrate real hard. But the sound, the sound from my mouth, if I let it rip right out the lips, my words will always come out like home.

Excerpt from “Obituary” from Wild Meat and the Bully Burgers by Lois­Ann Yamanaka. Copyright ©1996 by Lois­Ann Yamanaka. Reprinted by permission of Farrar, Straus and Giroux, LLC.

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Code Switching Teacher Directions: Have students read the excerpt from Brothers and Sisters silently. Students should annotate the text focusing on how language influences identity. Once completed, have students share their ideas in a group adding annotations to their own paper from other group members. Then introduce the idea of code­switching and have students reread the excerpt identifying evidence of code switching. Have students complete the response questions listed as an exit activity. Directions To Students Silently read the excerpt from Brothers and Sisters. Annotate the text noting instances where language influences identity? Use the reading strategies below to help make observations or comments about the text.

Ideas that resonate for you or ideas that you disagree with. Places where you learn something new or connect to something you learned previously. What else do you need to know? Places that you could use in an essay to argue for or against the topic. Strategies that you notice the writer using—using metaphors or anecdotes, inner

monologue.

After you have silently read and marked your text, collectively annotate the text to add ideas, evidence and comments from other members of your group. Code Switching: Code­switching occurs when a speaker alternates between two or more languages, or language varieties, in the context of a single conversation. Multilinguals—speakers of more than one language—sometimes use elements of multiple languages when conversing with each other. Speakers of the the same culture sometimes use a dialect common to their culture that they might not use when speaking with a person of a different race, ethnicity or culture. Second Reading

Reread the Brother and Sisters silently on your own to annotate the article to identify dialogue where code switching occurs. The dialogue can be between two characters or a character and themselves (inner monologue). When you have finished, answer the following questions in complete sentences. Be sure to incorporate specific textual evidence to support your thinking.

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1. Why do members of society code­switch in certain conversations? 2. How does code switching influence a person’s identity? 3. Is it reasonable to make judgements about a person based on the language they use?

Why or why not? 4. How is a person’s identity influenced by the language they use? 5. How does a person’s job or gender influence their language? 6. If a person uses code­switching in a conversation, are they being authentic? Are they

showing their true selves? Explain.

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Excerpt from Brothers and Sisters

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Identifying A Common Theme Teacher Directions: Have students read the short story Colonizing Wild Tongues silently and ask them to mark up the text identifying evidence to support an answer to the essential questions and examples of code­switching. Once they have completed the reading, ask student groups to identify a common theme/message/issue/idea for all three articles. Students will write the theme statement on a piece of paper and it will be taped to the wall. Students will then read each of the theme statements created by each group. Assign student groups a different theme than they created, and ask groups to find textual evidence to support the theme using the graphic organizer provided. Each group should find at least three pieces of evidence, write each one on a post­it note and hang it on theme statement. Once finished have student groups read the evidence for each theme statement and fill in their graphic organizer for all three stories (Obituary, Brothers and Sister, Colonizing Wild Tongues). Once the three stories have been analyzed, have students complete the last column in the graphic organizer, relating a personal experience with the listed themes. Leave the Theme Wall up for the duration of the unit.

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Colonizing Wild Tongues

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Gathering Quotes/Information Towards an Essay

Obituary Perspective:

Colonizing Wild Tongues Perspective:

Excerpt from Brothers and Sisters Perspective:

Personal Perspective

Men’s/Women’s Roles

Character:

Character: Character:

The Influence/Power of Money

Character:

Character: Character:

Impact of language on perception of character

Character:

Character: Character:

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Day 3

Craft Lesson: Hashtag into Narrative Paragraph 1. Begin by asking students, “What is a hashtag? How are they used?” You may look at some sample hashtags if students aren’t familiar. 2. Select a quote or image from your work together and place it on the document camera. Ask students to generate a hashtag for the prompt. Explain that this is part of the process you will work through together. You might show the attached models to students. 3. On large pieces of chart paper, students draw three circles in the form of a bulls eye. 4. Each group selects a quotation from any of the three articles we have read that they think is the most important (relevant to the essential questions) based on their individual selections in their reading journals, articles, etc. Students write the quotation in the inner circle on a large piece of chart paper. 5. With each group’s chart paper hanging on the wall, students walk around adding hashtags in the first circle on the chart paper. These hashtags should capture the gist of the quote, theme of the quotation. Then ask students to walk around and discuss which hashtags they think are most effective. (See sample below.) 6. Bring the class back together. Return to your original quote (#2) and ask students to pull the quote into a sentence. (See model) Ask students to partner share or small group share. Ask a few students to share with the large group to make sure everyone has a common understanding of the next step. 7. Once students return to the hallway, ask students to write sentences in response to the hashtags and quotations. Tell them to write on at least three sheets. 8. Once students have written on a few hashtag posters, return once again to the large group. The last step is to write a paragraph using one of the quotations, hashtags and sentences as the inspiration for their paragraph. Before students write their narrative paragraph, brainstorm together the elements of a narrative paragraph. Students write a practice paragraph with the classroom model. (#2) Students partner or small group share and pop up share a few paragraphs in class. (See model below.) 9. Ask students return to hashtag posters, find a quote, hashtag, and sentence they want to develop into a paragraph. Once students complete their paragraphs, share in small groups or post on the wall next to the hashtag posters.

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Example Hashtag Poster:

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Example Hashtag Sentence

Example Hashtag Paragraph. Strong words are necessary. When governments, schools, and teachers take native languages away by force, it is a form of rape. It is a declaration of war. It is violence. I love to sit in my living room and here the happy cadence of our native Spanish tongue. I feel connected; a rich history of my family and our lives together. My abuela recounts times of selling oranges in her village and I can almost hear the scratch of her feet as she shuffles down the dirt road. The minute I enter school, however, that pride I feel about my native tongue is suddenly turned into a source of shame. “This is an academic setting and you need to speak proper English if you want to succeed.” Ashamed, I bow my head.

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Day 4

Gallery Walk Teacher Directions: Use the photo stills from My Fair Lady as a predicting activity to introduce Pygmalion. Post the stills around the room and assign each photo a number. Use a graphic organizer to have students record their observations and predictions. Students will examine the characters closely to formulate predictions about the characters and their life situations. Have them focus on costume, posture, facial expressions, and the relationships between characters based on body language. Have them make predicting statements about each specific photo. Students should answer the response questions as an exit activity. Directions to Students Use the graphic organizer below to make observations about the pictures hanging in the room. Make predictions about the play Pygmalion focusing on costume, posture, facial expressions, and the relationships between characters based on body language. Make a predicting statement about each photo and answer the response questions below.

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Photo #

Description of Character Prediction Statement

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Response Questions: Based on your observations of the photos in the gallery walk, predict elements of the play.

1. What is the story’s setting?

2. What is the play about?

3. What kind of characters are in the play?

4. What are the relationships between the various characters?

5. Can you tell which characters have power and which do not?

6. Are there hints as to why those with power have power?

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Day 5

Introducing the Feminist Perspective Teacher Directions: This activity uses clips from several films to introduce students to the Feminist perspective. Cue the a clip from Legally Blonde (5:10­18:30, 1:13:00 ­ 1:31:50) or 9 to 5 (2:33 ­ 6:47) and have the students watch the film, noting evidence about the influence of language on perception and identity. Have students compose a quick response after the first viewing. Introduce the concept of the Feminist Perspective. View the film a second time and have students complete the response questions. Directions to Students

Watch the film segment selected by your teacher. As you watch the film, pay attention to the language used by the characters and the influence of language on the character’s identity. Take notes about your observations. After the first viewing, compose a quick write that describes your initial response to the female character or characters. Conclude your response by listing adjectives that describes the character. The Feminist Perspective: Novels, plays, articles, movies, commercials, music videos, and really any type of media can be interpreted in different ways depending on an individual’s perspective. By being able to switch perspectives, we are able to understand media and its influence or message from different points of view. This skill is important to master in order for a person to be able to form their own opinions and make their own decisions. Using different perspectives is like using different tools for different jobs. For instance you wouldn’t necessarily use a pitchfork to fix your car. Selecting the right tool for your purpose is similar to selecting different perspectives to analyze media. One perspective that is valuable is the Feminist Perspective. The Feminist perspective is a way of viewing the world by only focusing on the relationships between genders. It examines the thought patterns of people and characters, their behaviors, values, enfranchisement and who has power in relationships between men and women. To use the Feminist perspective assume the following:

We live in a patriarchal society that conveys a notion of male dominance. Many types of media, including novels, lack complex female figures or require female

characters to assume male values in terms of perception, feelings, and actions. Issues of gender are central to artistic expression.

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Fictional portrayals of female characters often reflect and create stereotypical social and political attitudes toward women.

Texts authored by women may have different viewpoints than texts by men. Second Screening: Now watch the same film clip a second time and view it using the feminist perspective. Use the questions below to guide your viewing.

1. What is the relationship between the characters? Cite specific textual evidence.

2. What does the staging of the characters (where you are physically located, how they move) in this scene suggest to you?

3. What is the power in the relationship between the male and females? Who is powerful?

Who is in control?

4. How does language play a role in the relationships between men and women? How does language contribute to identity in the feminist perspective?

Day 6

Introducing the Marxist Perspective Teacher Directions: This activity uses clips from several films to introduce students to the Marxist perspective. Have studets compose a quick write answering the question about money before viewing the clip.Cue the a clip from 9 to 5 (2:33 ­ 6:47) or Wall Street (https://www.youtube.com/watch?v=PF_iorX_MAw&safe=active) and have the students watch the film, noting evidence about the influence of language on perception and identity. Introduce the concept of the Marxist Perspective. View the clip a second time and have students respond to the guided questions. Directions to Students

Watch the film segment selected by your teacher. As you watch the film, pay attention to the language used by the characters and the influence of language on the character’s identity. Take notes about your observations. Before viewing, compose a quick write that describes your feelings about money. Does money provide happiness? Why is accumulating money important to many people?

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The Marxist Perspective: As with the feminist perspective, another tool to derive meaning from media is the Marxist Perspective. The Marxist Perspective asserts that economics (money) is the foundation for all social, political and ideological reality. The inequality of money distribution (wealthy vs. poor) is a power structure that drives history and influences differences in religion, race, ethnicity, and gender. To use the Marxist perspective assume the following:

Human relations are based on the struggle for economic power. The basic struggle in human society is between those who have money and those who

do not. Second Screening: Now watch the same film clip a second time and view it using the Marxist perspective. Use the questions below to guide your viewing.

1. What are the characters’ attitudes toward money and financial security?

2. Who is involved with the struggle for economic power?

3. How does this struggle illuminate the character’s attitudes and ambitions?

4. Do any of the characters appear to be happy? What role does happiness play in selecting and maintaining friendships, family, or a lifestyle?

Main Stage Day 7 ­ 11

Reading Pygmalion Teacher Directions: Each student will be given a copy of the play to follow along as the audio version plays (https://www.youtube.com/watch?v=tmdPj_XbF30). As we are listening/reading, the teacher will annotate the processing of the scene on a document reader. Notes will annotate for Feminist perspective, Marxist perspective, language issues, and authenticity. Students are to copy the teacher’s annotations as a model for future annotations. The goal is to rapidly move students

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through an initial reading of the play, and then allow time for them to go back and retrieve information for further analysis. Student Directions You will be given a copy of George Bernard Shaw’s Pygmalion. You are to record annotations as we read in order to collect evidence for future tasks. After our initial reading of the play, you will have an opportunity to go back and color code your annotations.

Act 1 Read this dialogue: THE NOTETAKER: You see this creature with her kerbstone English: the English that will keep her in the gutter to the end of her days. Well, sir, in three months I could pass that girl off as a duchess at an ambassador’s garden party. Answer these two questions in a quick write.

What does this boast say about the notetaker? What does it say about the flower girl?

Now, think about your own experiences. Have you ever felt dismissed or judged by someone who does not know you because of your language, appearance or actions? Write a description of that experience.

Act 2 As you read Act 2, we will be annotating for significant attributes, or characteristics, for each of the characters. Consider the following elements of dramatic characterization:

What they say (dialogue) What they do (actions) What they think (monologue) What others say about them (dialogue)

After reading: In your discussion groups, consider your preliminary responses to the questions below in preparation for collegial discussion. Come to the discussion group with well­reasoned ideas and evidence from the text to support your responses.

Are Higgins and Pickering the gentlemen that they appear to be? How is Eliza made to conform at Professor Higgins home? Does social class play a significant role in characterization? Explain. Is Eliza devalued? Explain.

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Act 3 Continue reading Pygmalion. Your purpose in reading continues to be to identify characters, define the conflicts, and apply the Feminist and Marxist perspectives to your understanding of the character’s relationships. Here are some items you might want to annotate:

What does Eliza say that is offensive? How do the other characters react to her comments? How does Eliza’s embarrassing experience contribute to the plot and her character

development? What do her comments say about the relationship between Higgins and Eliza?

After reading:

If you are Eliza what are you feeling now? What about if you are Higgins?

Act 4 Continue reading Pygmalion. Your purpose in reading continues to be to identify characters, define the conflicts, and apply the Feminist and Marxist perspectives to your understanding of the character’s relationships. After reading: Eliza asks, “Where am I to go? What am I to do? What’s to become of me?” What are Eliza’s options, given the setting of the play? List Eliza’s options and the pros and cons of each. How do these options change if Eliza were a person of color? Now that you have read Act 4, you have a clear picture of Higgin’s and Pickering’s attitudes toward their “project.” Think about what Eliza should do next. Take a position and offer a claim and supporting evidence to support your ideas. Consider each of the three characters­Higgins, Pickering, and Eliza­ and pose your ideas from each of their perspectives. Be sure to:

Define what you think Eliza’s steps should be. Address the three character’s perspectives. Support with textual evidence.

Act 5 The end of the play represents the transformation of the major characters in the play. Continue reading Pygmalion. Your purpose in reading continues to be to identify characters, define the conflicts, and apply the Feminist and Marxist perspectives to your understanding of the character’s relationships and their transformation. After reading: Answer the questions below after closely reading the end of Pygmalion (beginning when Pickering and Doolittle exit for the wedding, leaving Higgins and Eliza alone).

When is Higgins in control? When is Eliza in control?

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How does he get control? How does she get control?

How does he use his control? How does she use her control?

Day 12

Character Retrieval Teacher Directions: The Character Retrieval Chart is a graphic organizer that allows students to compile notes as they read about the ways an author develops character. This visual also helps them create a system for collecting data and for writing notes. By discerning more about the writer’s craft, students can use this knowledge of character development in their own writing. Have students select a character and a perspective (Marxist, Feminist) in which to analyze the character. Instruct them to go back through the play and the stories/articles read in class to

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gather evidence supporting their chosen perspective focusing on the language used by the character. Repeat this process by having student select a specific character and perspective from Pygmalion and have them use the second graphic organizer. Follow the steps below for further clarification. Steps:

1. Begin with an essential question related to the writer’s technique: How do writers develop character?

2. Have students brainstorm a list of ways that character might be revealed, or presented. 3. Distribute the Character Retrieval Charts. Two charts are provided — each with specific

purpose. 4. Students take notes as they read, going back into the text to answer the question:

Where are some of the places the writer Had the character take action? Said words that demonstrate specific Feminist or Marxist traits? Revealed the character’s thoughts about gender, money or language? Provided a physical description of the character? Used other characters to disclose details about the central character?

Directions to Students Name: How do writers develop character? Brainstorm a list of ways that a character might be revealed or presented (5). Go back through the short stories we read at the beginning of the unit and select characters demonstrating the power of language and perspective. Where are some of the places the writer

Had the character take action? Said words that demonstrate specific Feminist or Marxist traits? Revealed the character’s thoughts about gender, money or language? Provided a physical description of the character? Used other characters to disclose details about the central character?

Name: Character Retrieval Chart: Authors develop characters in a number of ways, including: a character’s actions, thoughts, and words, their physical description (including time period and setting), and what other characters

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say about them. Select a character from Pygmalion and fill out the following chart. Be sure to use direct quotes from the text that demonstrate the influence of language or either of the two perspectives studied in class. Character’s Name: _______________________________________

Quote and Page Number

Actions

Words

Thoughts

Physical description

Other characters’ words and interactions

Day 13

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Metaphor Poems

Teacher Directions: Have students complete the Metaphor Poem activity below. They should select a character from one of the readings in class and draw a picture of a metaphor representing the influence of language on identity or how the Feminist or Marxist perspective has been characterized. Once a drawing is completed have students write a poem about their character, concept or theme. They will then present both their picture and read their poem to the class. Description: Students may use Metaphorical drawings to stimulate more critical thinking about the content they are learning. Sometimes the drawing of a metaphor and writing a poem about a topic allows students a way to synthesize their understanding in a way that moves them to a deeper understanding of the issue. NOTE: Emphasis should be given to the process, textual evidence and the writing that culminates the activity, not to the art that a student produces. Steps:

1. Review metaphor, simile, and analogy with students. Allow them to develop their understanding together.

2. Brainstorm potential metaphors together and explain the evidence that makes the metaphor work:

Example: In 1000 Pieces of Gold Lalu is like a bell without a tongue because of the patriarchal society in China; she cannot speak, her tongue is silenced.

Example: During the “Politics of Language” unit, one student drew a mouth sewn shut. His evidence was the number of countries where indigenous languages have been banned or shamed into silence.

3. Once students have a sense of the activity, encourage them to create their own metaphor and determine what evidence they have to support their assertion.

4. Share a few out loud. 5. Distribute paper and crayons or colored pencils and ask students to draw their metaphor. 6. Finished metaphorical drawings may be posted around the room so that students can do

a “museum walkthrough.” Connection to Other Writing Activities:

1. After the drawing, students write a poem about their character, concept or theme. (See Metaphor Poems)

Directions to Students

Metaphor Poem

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Create a metaphor / simile that describes / explains one of the main characters in the short stories or play read in class representing the influence of language on identity or the feminist or Marxist perspective characterized. Remember that a metaphor is a comparison between two unlike things in which no word of comparison is used. Remember that a simile is a comparison of two unlike things in which a word of comparison (like or as) is used. To create your metaphor, • Draw the metaphor first. • Next write a poem, based on your metaphor. Examples, based on students reading The Color Purple

Celie by Don Pendleton

I am Celie.

I am the cold hard black floor everyone walked on. People have stained me and laughed but I stayed solid under them and did not squeak. I am the floor now but once you go downstairs I become the ceiling.

Celie by Lila Johnson

I am a record on your shelf the one dressed in dust and age full of cracked songs you play when you are blue the one pushed behind the others cool black jackets smooth golden sounds the one your liquor­heavy fingers find on days your red water eyes don’t know the difference just an old record you play me when you are blue

Day 14

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Two­Voice Poems

Teacher Directions: Put students into pairs and pass out the Two­Voice Poem activity. Have students quickly identify characters or ideas that have competing perspectives. Instruct them to complete the activity below. Directions to Students

Dialogue or Two­Voice Poems From your reading identify dyads of characters, settings or ideas that might argue, discuss or dialogue. Create a discussion between the pair. Let them speak in authentic voices.

Pair with a partner and work together to create a two­voice poem. Choose two characters (or concepts) from your book. Improvise a dialogue/argument between these characters. After you get the idea about what the dialogue sounds like, write it in draft form. Without using names, lay it out so that it’s clear when the voices change.

Examples: The Vicar and The Teacher from I Heard the Owl Call My Name by Maxx Nanson, student The clouds are a light gray, the normal but beautiful color of Kingcome sky. The clouds are ominous and dreary, I grow tired of this place. Rain starts to fall, as much a part of me as my own arms.

Rain starts to fall, reflecting my somber mood.

The air is cold, feeling clean, fresh, and new.

The air is cold and I put on my jacket longing for the warm summer days of my old home.

Soon the children will visit me,

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so innocent and curious.

Soon the children will visit me, I grow tired of their blank, expressionless faces.

I respect the culture, and don’t force my beliefs.

I am a teacher, and they will learn English.

Life in Kingcome is simple, it makes a man realize what his place in life is all about. Life in Kingcome is boring, no man should ever have to come here.

I am an outsider, for I can never truly be a part of them I am an outsider, for I will never be one of them.

Honeybees from Joyful Noise: Poems for Two Voices by Paul Fleischman

Being a bee Being a bee is a joy. is a pain. I’m a queen I’m a worker I’ll glad explain. I’ll glad explain. Upon rising, I’m fed by my royal attendants, I’m up at dawn, guarding the hive’s narrow entrance I’m bathed then I take out the hive’s morning trash then I’m groomed. then I put in an hour making wax, without two minutes’ time to sit still and relax. The rest of my day is quite simply set forth: Then I might collect nectar from the field three miles north I lay eggs,

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or perhaps I’m on larva detail by the hundred. feeding the grubs in their cells, wishing that I were still helpless and pale. I’m loved and I’m lauded, I’m outranked by none. Then I pack combs with pollen—not my idea of fun. When I’ve done enough laying Then, weary, I strive I retire to patch up any cracks in the hive for the rest of the day. Then I build some new cells, slaving away at enlarging this Hell, dreading the sight of another sunrise, wondering why we don’t all unionize. Truly, a bee’s is the Truly, a bee’s is the worst best of all lives. of all lives.

Day 15

Silent Discussion

Teacher Directions: This reflective exercise, used as a post­reading strategy, helps to prepare students who are about to write expository or persuasive essays. This discussion about the novel may elicit deeper thinking related to specific issues and themes within the text. Divide the class into three groups. Each group will be assigned one of the three perspectives. Have each student in the group respond to at least four questions from that perspective by writing their opinion on a post­it note. The responses should be detailed and express the

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individual’s opinion. Have the students post their opinions on a wall in your room under a heading of Language, Marxist, Feminist. After every student has responded to four questions, have the groups switch focuses and respond to the posted opinions in a different category (ie: students answering language questions will then respond to opinions under the feminist column). Once they have written four responses to other opinions, students will read all the opinions and responses for all three categories and begin a whole class discussion. Leave the post­it notes up until after the final assessment. Description: Silent Discussion encourages all class members to respond to a series of questions and statements related to a piece of writing (chapter, magazine or newspaper article, novel, play) that the class is reading and studying. The rationale behind Silent Discussion is to begin a dialogue on these issues while allowing all students the quiet to form their own opinions and the writing space to express them openly. Some of the discussion topics might expose stereotypes and preconceived ideas that students might possess. Advanced Preparations:

1. The teacher (or students) chooses 6­8 important questions, passages, problem pairs, direct quotes or statements related to what the class is reading. At least 6­8 are needed in order to avoid too much bunching of students as they complete the Silent Discussion. Topics need to be something that students can work with — something that allows them to “discuss” in writing rather than to make a statement followed by a series of “I agrees” from peers.

2. The teacher writes each question or statement on a separate piece of butcher paper. 3. Each piece of paper with question or statement is placed at various locations around the

classroom. Steps:

1. Students travel silently around the room, choosing three or four of the issues to respond to. They then write responses silently. (Note: The teacher may wish to play background music that helps to mask the embarrassed silence.)

2. The teacher encourages students to explain WHY they feel the particular way they do, or WHY they arrived at their opinion. Can they think of examples, anecdotes, exceptions, verifications? Be prepared for reactionary comments and push students to address these challenges.

3. Next, students silently read the first student responses to the questions and counter­respond in writing to four of them.

4. When the silent response time is completed, time can be used to read the responses out loud, to elaborate orally on any of the issues that cannot remain silenced and/or to evaluate the experience.

Suggestions:

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1. Set time limits for students to stay in one spot. 2. Allow some time for first responses, perhaps as much as 15 minutes. 3. Then allow more time for follow­up responses (10­15 minutes). 4. Decide whether or not students will identify themselves on each comment/response.

Perhaps this is a space to sound out ideas without having to take ownership of them. Example of Silent Discussion questions focused on language, the Marxist, and the Feminist perspectives: Marxist

1. Is being wealthy a burden or a gift? 2. Are middle­class people happier than wealthy or poor people? 3. Does fame equal power? 4. Is the love of money the root of evil? 5. Can people from different social classes be close friends? 6. Can you change your social standing if you try hard enough? 7. Would you rather marry someone who is rich or someone you love? Why? 8. Is wealth a reflection of how hard you work?

Feminist

1. Do men feel they need more strength than women? Why or why not? 2. Is more expected from men or women in our society? Explain your answer and give

examples. 3. How are women portrayed in in the media? Is this portrayal more often negative or

positive? Give examples. 4. Do men take advantage of women in our society? 5. Do women take advantage of men in our society? 6. Is physical strength important? Why or why not? 7. What is a man’s role in our society? 8. What is a woman’s role in our society

Language

1. Are you defined by the language you use? 2. If you speak differently around different groups of people (code switching) does this

make you ingenuine? 3. Does your language inhibit you from moving up social classes? 4. How is your identity influenced by the language you use? 5. What assumptions do you make about people based on their voice and the language

they use? Give an example. Is it an accurate assumption? 6. Do men who have high pitched voices have a more difficult life in our society? Why or

why not? 7. How does your upbringing influence the language you use?

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8. Does the use of internet language (LOL, BRB, LMAO) and slang inhibit the youth of our society? Why or why not?

Day 16 & 17

Mini­Debate Teacher Directions: In this activity students experience multiple perspectives by arguing for and against a character’s dilemma. From these opposing views students come to their own conclusions about the wisdom of the character’s decision. Materials:

1. A document camera with a series of questions as a Quick Write prompt 2. Example from george Bernard Shaw’s, Pygmalion:

What do Higgins and Eliza want from the other? How do you think they really feel? The play ends with Higgins laughing at the thought of Eliza marrying Freddy.

Based on Shaw’s portrayal of these characters, what do you think becomes of Eliza and Higgins?

3. A document camera with Exit Write follow­up questions Steps:

1. Ask students to respond to the Quick Write prompts. 2. Divide students into two groups and explain that Group One must find evidence/reasons

that Eliza and Higgins end up marrying each other, while students in Group Two must find reasons they don’t wind up together and Eliza marries Freddy.. Whether or not students agree with the presumed character’s decision, they still need to find reasons in support of their group’s position; if necessary, they must play “devil’s advocate.”

3. Before the groups begin to discuss these two positions, have students pause and write individually, finding reasons in support of their group’s position.

4. Groups then form and share their responses. After all students have shared, groups choose 4 – 5 strongest reasons in support of their position. Groups also choose several spokespersons to present their reasons to the other group. Each group should employ as many speakers as possible.

5. Group One offers their first reasons, followed by Group Two. Alternate responses until both groups have given all their reasons.

6. Invite all students to join the group they agree with at this point. Ask students to explain their choice, either through discussion or in writing.

7. On the board or overhead, ask students to complete the Exit Write prompts: How did the mini­debate change or support your original opinion? What is the strongest reason you heard today in support of your position?

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Is there any evidence from the text that supports your reason? If so, what? Day 18

Formatting and Organization of a Dramatic Scene

Teacher Directions: In order to complete the final assessment, students will need to understand and apply the basic formatting and organizational elements of a dramatic scene. This lesson is best taught in a computer lab or using available computers. Review the handouts of basic elements of a scene, the writing strategies, and the example scene with the formating descriptions. Then have students rewrite a short scene from Pygmalion using the correct formatting elements. Directions to Students In groups of two, select a short scene from the play Pygmalion and reformat the scene using the examples and strategies reviewed in class. Convert the language in the play to modern English. Use these handouts as a guide when writing your final assessment.

Writing Dramatic Scenes Basic Scene Elements: Dramatic scenes contain four basic elements. A protagonist, antagonist, brief description of the setting, description of character’s actions, feelings, movements, body language, and other physical responses to dialogue and character movements. Lastly, just like a screenplay, each scene must have a beginning, middle and end with a climax and resolution in order to move the plot forward. The beginning of the scene transitions to the middle with the introduction of a problem that the protagonist must resolve. This is called plot point 1. The climax or the resolution of the problem is plot point 2. These elements ensure the plot of the scene moves forward. Scene Writing Strategies: According to the Dartmouth Film School students should also follow these six strategies:

1. A good scene has its own dramatic moment. Embedded within each scene should be a dramatic moment that reveals the character's conflict, as well as the film's controlling idea. If your scene lacks a dramatic moment, it won't work.

2. A good scene moves the action forward. I

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3. A good scene reveals something new. Your audience wants to find out something new about the character or the situation in every scene. If your scene conveys no new information, then you still have work to do.

4. A good scene accomplishes several goals. In a short film it's especially important to make your scenes accomplish more than one goal. The more a scene accomplishes, the richer it will be, and the more it will engage your audience.

5. A good scene has a clear purpose. If you find yourself wondering, "What's the point of this interaction?" then your scene's purpose isn't clear enough. Rethink it.

6. A good scene is engaging. You may have written a scene that moves the action forward, reveals something new, accomplishes several goals, and has a clear purpose. But if you haven't written it in a way that engages your audience, you've come up dry.

Typical dramatic scenes are usually written like example scene below. Although this formatting standard does not have to be followed for the culminating assessment, it is best to use a standard. Example scene illustrating formatting: EXT. CROWN HILL HIGH SCHOOL ­ DAY (Slug Line) SHAUN and TIM are walking away from the school carrying books. RYAN is about to leave in a funny car. Shaun is ignoring his sister, ELIZABETH, who is approaching with her boyfriend, JOHN. (Scene description lines) SQUEALING TIRES (Sound effects line) All of the students hug the inside edge of the sidewalk or take to the grass. Tim steps on Shaun's sister, Elizabeth, who is walking by. The cars on the street clear a wide path for Ryan. (Scene instruction lines) HORNS HONKING, POLICE SIREN

ELIZABETH (Smug.) (Dialogue direction line)

Shaun, do you have a date for prom? (Dialogue line) Shaun and Tim ignore Elizabeth and walk on. DAVE walks by them toward the parking lot.

DAVE Hi, guys.

SHAUN Hail, Dave.

TIM (Under breath)

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King of Geeks. LAURA exits the parking lot with a CARLOAD OF GIRLS. Shaun and Tim watch as the car approaches.

SHAUN

What wouldn't I give for a prom date with Laura?

TIM Give your brain, you won't lose much.

SHAUN

At least we're not geeks. Geeks never get dates. Laura and Dave the Geek exchange waves. Shaun and Tim stand on the sidewalk with their eyes bulging. Shaun drops his books on the sidewalk and then trudges toward the gym. The basic formatting guidelines are as follows:

EXT. stands for exterior. INT. stands for interior. Following either of these abbreviations is the location/setting of the scene and the time of day. This is the slugline

A basic scene description usually follows detailing any existing action that is taking place as the audience begins to read.

All character names are typed in ALL CAPS whether they are in a description or indicate the character speaking dialogue

Character names indicating dialogue are centered. The dialogue being spoken is indented approximately 1.5 inches from the left and right

of the document (About three tabs). If the dialogue is more than one line it should be left justified with the 1.5 margin in effect. This is sometime difficult for student to accomplish so having them center the dialogue under the character name is acceptable.

Any sound effects are typed in ALL CAPS Any dialogue direction is in parentheses and centered under the characters name.

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Closing Act

Day 19 ­ 23

Writing A Dramatic Scene Teacher Directions: Before beginning students must ask themselves a series of questions.

What needs to happen in this scene? Who needs to be in the scene? Where could this scene take place? What’s the most surprising thing that could happen in the scene?

Students should brainstorm three ways to begin the scene. They need to imagine the setting and the characters in their head and write scribbled version. Example of a scribbled version:

DUNCAN waiting edge of seat ITO I was one of the doctors who worked on your wife accident injuries severe, trauma team, sorry, couldn’t save her (sits, reflex) nature of injuries, concern fetus wouldn’t survive in utero. paramedic able deliver

caesarian boy healthy (nodding not hearing) nurse can take you to see him, know a lot to handle what a lot to handle take me to see him? yes see who? your son. paramedic was able to (grabs clipboard) I know this may seem My wife wasn’t pregnant Your wife didn’t tell you… My wife has never been pregnant. been trying three years. fertility clinic last week

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I examined the baby myself. nearly at term. I don’t know whose baby, not hers.

Directions to Students With a partner, using a Marxist or Feminist perspective, create a modern scene using sources we have read as models that reflect a clearly defined perspective where the dialogue (language) influences identity. Planning and Prewriting:

Which of the two critical perspectives is the best choice for you in completing this assignment? What is your claim? How will the scene you craft deliver your perspective about an issue?

What characters and what scenarios give you the best opportunity to convey in a clear and interesting way the perspective you have chosen?

Drafting: How will you use dialogue to show new elements and perspectives that address your

chosen critical perspective? Editing and Revising your Draft:

How can you work with your partner/other class members and with the scoring guide to help you determine what needs to be added or changed?

Checking and Editing for Publication:

How will you review your work to make sure that you have followed the genre conventions of a play script?

What resources can you use to correct errors in spelling, conventions, grammar, style and formatting?

Scoring Guide

Scoring Criteria

Exemplary Proficient Emerging Incomplete

Ideas The script portrays a

scene that lends itself well to the chosen critical perspective

reveals sophisticated

The script portrays an

appropriate scene for the chosen critical perspective.

shows a comprehension

The script portrays a scene

that does not fit well with the chosen critical perspective.

scene does not show a clear

The script portrays a

scene that does not fit at all with the chosen perspective.

scene does not show any

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understanding of the critical perspective

of the critical perspective

understanding of the critical perspective.

understanding of the critical perspective.

Structure The script follows an

organization that clearly identifies dialogue and stage directions

The script follows an

organization that separates dialogue from stage directions.

The script is not organized

to show clear distinctions between dialogue and stage directions.

The script is disorganized

and does not show clear distinctions between dialogue and stage directions.

Use of Language

The script crafts dialogue

that maintains a consistent and authentic character voice

demonstrates strong control and mastery of standard writing conventions.

The script crafts dialogue

that largely maintains a consistent and authentic character voice

demonstrates control of writing conventions but may contain errors that do not interfere with meaning.

The script crafts dialogue

that unsuccessfully attempts to use an authentic voice

contains frequent errors in standard writing conventions that interfere with meaning.

The script does not craft

dialogue that uses authentic voice

contains numerous errors in standard writing conventions that interfere with meaning.

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