Delaware Standards for Visual & Performing Arts

Theatre Model Unit of Instruction (Tenth/Accomplished)

Discipline: Theatre – The Actor’s Instrument

Artistic Processes: Creating, Performing, Responding, Connecting
Title: “My Name is Inigo Montoya. You Killed my Father. Prepare to Die” - Safe Stage Combat
Description: The goal of this unit is to provide a safe, but effective, way to dramatize conflict and combat on the stage. Students will be able to
demonstrate their technical performance abilities in a choreographed combat performance. Students will learn their individual role as actor-
combatant, through warm-up exercises, staging, and fighting unarmed combat. Students will be instructed in the safe procedures involved in stage
combat. Safety factors in stage fighting will be stressed. They will understand the safety rules, terminology, and basic skills of hand-to-hand stage
combat and will be able to choreograph and execute simple stage fights. Students will demonstrate their knowledge of and ability to safely fight
on stage by creating and performing an unarmed stage fight, submitting a script for the fight that uses the correct terminology, and stating the
safety rules of stage combat.
Grade: Tenth Grade
In this Model Unit of Instruction (MUI) you will find: (mark all that apply)
x Strategies for embedding in x Assessment procedures x Knowledge, skills and x Differentiation strategies
instruction vocabulary
☐ Strategies for inclusion
x Suggested formative and x Resources needed for unit x LFS strategies x Benchmarked student work
summative assessment scoring implementation (with parental permission to
☐ UbD strategies
devices upload to DOE website)
x Unit specific rubrics

Estimate time for teaching and assessment: (mark the appropriate box)
(Note: Time entered below is to assist teachers for planning purposes. Time estimates are to be used as a guideline.)

x Approximately 17 hours ☐ To be determined by the individual teacher

Standards for embedding instruction [standards addressed in the unit of instruction and used as criteria for assessing student progress against the
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standards.]

HS.Accomplished TH:Cr1.1.II C: Use personal experiences and knowledge to develop a character that is believable and authentic in a drama/theatre work.

HS.Accomplished TH:Cn11.2.II A: Formulate creative choices for a devised or scripted drama/theatre work based on theatre research about the selected topic.

HS.Accomplished TH:Re8.1.II. C: Debate and distinguish multiple aesthetics, preferences, and beliefs through participation in and observation of drama/theatre work.

HS.Accomplished TH:Pr5.1.II A: Refine a range of acting skills to build a believable and sustainable drama/theatre performance.

Strategies for embedding instruction [possible sequence & strategies to align instruction and assessment to the Standards for Visual & Performing Arts
within a classroom unit]

This assessment provides experience in the performance process. Students will become reflective of their own process and apply this experience to
future work in rehearsal and performance.

1. Envision themselves succeeding as an actor. (Creating/Envision)

2. Utilize skills from stage combat in a performance. (Connecting/Performing)
3. Interpret the playwright’s style within the script and through a lens of historical context. (Connecting/Interpret)
4. Develop a character using imaginary circumstances. (Creating)
5. Utilize knowledge of balance, line of sight, eye contact, and distance to choreograph a fluid fight sequence. (Connecting/Creating)
6. Conceptualize the believable character they will portray. (Creating/Conceptualize)
7. Derive character choices from the given circumstances. (Perform)
8. Prepare physical, vocal, emotional, and practical work for the character. (Perform/Prepare)
9. Present a believable character within a scene performance for an audience. (Perform/Present)
10. Evaluate the reaction of the audience after their performance. (Responding/Evaluate)
11. Reflect on their own performance. (Responding/Reflect)

Assessment procedures [outline of procedures necessary to obtain comparable work from multiple teachers]

The following is planned with an A/B schedule in mind. Class meets for 85 minutes. Each day represents one class session.

Formative Assessment Day 1: Introduction to Stage Combat Handout

Formative Assessment Day 2: Fall Demonstrations
Formative Assessment Day 3: Slaps and Knaps Exit Ticket
Formative Assessment Day 4: B.L.O.O.D. Exit Ticket
Formative Assessment Day 5: Individual Move Demonstrations
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 Formative Assessment Day 6: Mini-Fight Sequence
Formative Assessment Day 7: Rehearsal Reflection
Formative Assessment Day 8: Rehearsal Reflection
Summative Assessment Day 9: Scene Script Submission
Summative Assessment Day 10: Performance and Feedback Model
Formative Assessment Day 11: Rehearsal Reflection
Summative Assessment Day 12: Second Performance and Performance Self-Reflection

Knowledge, skills and vocabulary [focusing on concepts required to successfully complete the task]

Key vocabulary: Shared Knap, Clap Knap, Knap, John Wayne, Uppercut, Balance, Line of Sight, Distance, Eye Contact

Methods for vocabulary instruction including: describing the word, having students restate the definition, having students create a visualization of the term,
discussing the term, and engaging in games involving the meaning/application of key vocabulary. Students will use the acronym of B.L.O.O.D. to help recall
balance, line of sight, eye contact, and distance.

Knowledge and skills [other than Key Vocabulary]

Students will be able to create an original two-person scene that follows the specifications for safe stage combat.

Students will learn, refine, and execute a variety of different combat moves.

Students will choreograph an original fight sequence connecting at least sixteen different moves and four falls.

Students will be able to describe the unique considerations and conventions of stage combat in their own words.

Students will be able to demonstrate and apply their mastery of hand-to-hand combat through performance of an original scene.

Strategies for inclusion (Specially designed instruction and Differentiation strategies (Instructional approaches that respond
support for students with disabilities to provide equitable learning to individual student needs and strengths to maximize student learning
opportunities.) and success.)
Resource: Resource:
https://www.hepg.org/her-home/issues/harvard-educational-review- http://www.ascd.org/publications/books/100216/chapters/Understandin
volume-83-number-1/herarticle/_1229 g-Differentiated-Instruction@-Building-a-Foundation-for-
Leadership.aspx
Vickers, S. & Emanuel, R. (2010). The stories within: Developing
inclusive drama and storymaking. Buckingham, England: Hinton House “Meeting the Needs of Introverts and Extroverts in the Drama
Publishers, Ltd. Classroom”

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 Superior Excellent Good Fair
1.Utilization of Both participants more Eight of the moves Seven of the moves that Less than six of the
all moves that than eight of the moves that were learned
Hall, E. & Isaacs, D. (2011). Seven keys to unlocking autism: Making were learned in class are moves that were learned
Dramacasetstudy.weebly.com/differentiated-instruction.html
were learned that they learned in class. during class are used. used. The attacks were in class were used. One
miracles
during classin the classroom.
and And there wasSan anFrancisco,
even CA:
One Jossey-Bass.
participant had a unequal, favoring one participant delivered
Equal attacks for number of attacks. few more attacks than participant. SEND Differentiation Strategies
most of the attacks while for Drama Teachers
each partner. the other. the other received.

2. Fluidity/Eye The fight was well The fight was put The fight was some what The fight was poorly put
Contact choreographed and together so most of the awkward. Not all of the together, making the
Resources [for moves
unit implementation]
flowed from one moves worked well moves worked well fight seem clumsy.
into the other without together,
 Excerpts from Respect for Acting by Uta Hagen while some together. There may be Movements were jolted
conflict. Both could have been more one occasion where a and uncomfortable. Eye
 Stage Combat PPT ensure
participants Presentation
they fluent. Both partner fails to make eye contact is inconsistent.
 Corresponding
have madeStage
eyeCombat
contact Guided Notesensure
participants contact prior to a move.
 Corresponding
before every
Stagemove.
Combat Model they have made eye
Videos
contact before every w/ corresponding rubrics
 Copies (digital or otherwise) of student assignments
move.
 iPad
3.Memorization Both participants were Most of the moves There were some pauses The fight was not
clearly memorized and were memorized. With taken in between moves, memorized and had to
had no problems keeping some minor pauses, making it apparent that it constantly stop to
Suggested formative and
to the script. Linessummative
were assessment
the fight was mostly devices [rubrics, checklists,remember
was not memorized rating scales, etc.]Both
moves.
also memorized and said well done. The lines completely. Lines were parties were confused
on cue. were hesitant but still forgotten on occasion. and unable to complete
 Stage Combat Scene Performancememorized. Rubric the entire fight.
 Rehearsal Video & Reflection
4.Scenario/Lines Both participants had Both participants had Lines were written into The fight contained
equal lines and a well lines that helped the the fight as to
 Peer Review/Feedback of Rehearsal Videos: (1) What moves were executed masterfully? help the hardly any lines
(2)and
Whatwas moves had technical errors and/or
thought out scenario that fight move along but fight get started, but were lacking a clear scenario
seemed potentially unsafe? How were
created the background
can the actors improve
lacking a clear
upon these skills? (3) Was
not used to the depict the
the scene well-scripted? Dialogue should be natural and
completely. The lines
prepared--there should be a clear
story to the reasoning of conflict AND
reason as to what a clear resolution. Who
scenario properly. ends with
hindered the Were their objectives clear/strong and how were
power?
they motivated?
the fight.How did the characters employ
scenario caused thedifferent tactics? performance, because
 Performance Reflection fight. the actors had to stop
and think.
 Character Paperwork: Uta Hagen’s Nine Questions
5.Creativity/ The fight was very The fight was creative The fight was more or The fight was not
Believability creative while still being and mostly believable. less creative but lacking creative and was not
believable to the Making the fight in believability. While it believable to the
audience making it an mostly realistic but was entertaining, audience. Unit-specific rubrics
entertaining yet realistic still entertaining.
experience for the
audience.
Stage Combat Scene Performance
Rubric (see below)
6.Staging and The moves were all well Most of the moves Some of the moves were None of the moves were
awareness of the hidden and positioned to were well hidden but hidden while the others well hidden from the
audience seem real to the at times left open to were viewable to the audience. The
audience. The the audience. The audience. The space was participants took no care
participants used the stage was decently not used well during the in where the moves were
space well. used during the fight. fight. positioned. Use of the
stage was poor.
7. Technique Both students execute Both students execute Both students execute Students do not execute
every move with every move with every move with attention each move carefully
excellent attention to attention to detail and to detail and demonstrate enough to demonstrate 4
detail and demonstrate demonstrate a great a great understanding of an understanding of
 Benchmarked Student Work [ This is optional- Above Standard, At Standard, Near Standard and Below Standard work to illustrate expectations on web site. It
does require family permission to post.]

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