Assignment 3, 4, 5 Where I'm From Poem and Video

Where I'm From/ George Ella Lyon

AGENDA:

1. Review:
Assignment #1---MLA Heading on paper, 12 pt. Times Roman font  Writing Territories List
Assignment #2--From your list, write about one of your SPECIFIC Writing Territories ideas (at least one page double-spaced)
Print out Assignments 1 and 2 today and put in your folder


2. Begin working on "Where I'm From" poems which we will turn into a movies next week with Moviemaker by adding images and music.

FILL OUT THE TEMPLATE!

Look over Examples: https://www.youtube.com/watch?v=qG3iP08HKZA
https://www.youtube.com/watch?v=bJ0bHaFsPx8
https://www.youtube.com/watch?v=TVryvxLTIyU 

2. Show video of original poem:
https://www.youtube.com/watch?v=ZdnHl_yW1dQ 

3. HANDOUT: Where I'm From template--Write your own "Where I'm From" poem in a Word or Google Doc using the model and the template

Assignment #1 Making Lists/Assignment #2 Nonfiction

AGENDA:

Use 12 pt. font  Times New Roman

MLA Heading (in left hand corner):

Your name

Teacher name

Course name (CW7)

Assignment/Date

Open a word document.  Put an MLA heading on top. Create a full page of YOUR Writing Territories lists.  Save your document.

Assignment #1:  Writing Territories/Making Lists for Writing Topics

Don't try to figure out what other people want to hear from you; figure out what you have to say. It's the one and only thing you have to offer. ~ Barbara Kingsolver

In Collecting Your Writing Territories, Consider . . .and Make Lists of Ideas.  Brainstorm what you can write about.  Be specific.

memories: early, earlier, and recent                                favorites, now and then

obsessions                                                                    pets, now and then

idiosyncrasies                                                               teachers, now and then

problems                                                                      places: school, camp, trips, times away with friends and relatives

dreams                                                                         hobbies

itches                                                                            sports

understandings                                                              music

confusions                                                                    games

passions                                                                       books

sorrows                                                                        poems

risks                                                                             songs

accomplishments                                                           movies

fears                                                                             writers and artists

worries                                                                         food

fantasies                                                                       pet peeves

family, close and distant                                                beloved things-objects and possessions, now and then

friends, now and then                                                    all the loves of your life

fads

                                                       Adapted from Lessons That Change Writers by Nancie Atwell

Other ideas:

http://smoran.ednet.ns.ca/writing/writing_territories.htm

Welcome to CW7

AGENDA:

https://www.youtube.com/watch?v=1M5hs6ahcKU

https://www.youtube.com/watch?v=FH3akqBwYfo 

"By awakening our imagination, art intensifies and complements our own experience. Art represents people, cultures, values, and perspectives on living, but it does much more. While bringing us pleasure, art teaches us. While reading or contemplating a painting our minds go elsewhere. We are taken on a journey into a world where form and meaning are intertwined.

Form matters and gives pleasure. How a work of art is organized — its technique, its verbal or visual texture, its way of telling — gives pleasure. So does the inextricable relation between form and content. The form of imaginative art, as well as the form of well-written non-fiction, organizes the mess (if not the chaos) of personal life as well as that of external events. Form not only organizes and controls art but also other bodies of knowledge within the humanities. Form imposes structure that our own lives — as we move from moment to moment through time — may lack.

Narrative — sequential telling — imposes form as it orders and gives shape. Indeed, in the sense that each of us is continually giving shape to the stories we tell to and about ourselves, there is continuity between what we read and see and our own lives. Put another way, what we read teaches us to find narratives within our own lives and hence helps us make sense of who we are. Our seeing shapes and patterns in stories and other kinds of art helps give interpretive order — in the form of a narrative that we understand — to our lives. We live in our narratives, our discourse, about our actions, thought, and feelings.

While there is always a gulf between imagined worlds and real ones, does not the continuity between reading lives and reading texts depend on our understanding reading as a means of sharpening our perceptions and deepen our insights about ourselves? Reading is a process of cognition that depends on actively organizing the phenomena of language both in the moment of perception and in the fuller understanding that develops retrospectively."

Daniel Schwartz, Huffington Post

Classroom expectations

1) Treat others as you would like to be treated.  RESPECT ALL NOUNS (People, objects, ideas)

2) Respect other people and their property (e.g., no hitting, no stealing).

3) Laugh with anyone, but laugh at no one.

4) Be responsible for your own learning.

5) Come to class and hand in assignments on time.

6) Do not disturb people who are working.

In addition:

No food or drink in classroom or computer lab.

No cell phones.

Use Times New Roman font  12 pt.
Ask permission to print

Open a Google Doc or Word Doc
Start with a MLA HEADING (in upper left hand corner)
Your name
Teacher name
Course: CW7
Date:
Assignment

Presentations

AGENDA:

Audience: Imagine you are in a theater.  Find a seat, sit down, and be quiet.

Performers: Come to the front of the room and prepare your play slides and set.

Actors get ready to begin your presentation.

At the end of the presentation, audience applaud.

Group DRAMA PROJECT

GROUP PROJECT: Adapting a fable or fairy tale story theater style for the stage

AGENDA:

In small groups, you will be adapting a fable or fairy tale for the stage.

Your project requires:

1. A script for a skit with parts for a narrator and other characters.

2. A set and costume design (make slide show of Google images).

3. A song to be sung for the skit by a character(s) to set the scene.  You can write the words to any famous melody or use music in the background.

4. A performance for the class.
What is the difference between a fable and a fairy tale?

http://www.differencebetween.com/difference-between-fable-and-vs-fairy-tale/

1. Review with students the elements of a fable: characters, setting, events and a moral. In most fables the characters are animals. These animals usually represent specific human qualities(personification).

2. Review the concept of a moral. Tell students that fables are meant to teach a lesson or moral. The moral is usually revealed at the end of the fable. Sometimes the moral is delivered as a statement, such as "Be happy with what you have," or "It is easier to think up a plan than to carry it out."

http://aesopfables.com/

https://www.cs.cmu.edu/~spok/grimmtmp/


example:
The Beaver and the Lumberjack
By Carol Montgomery ©2010

From the early part of the script after the narrators and Lumberjack have been introduced...

Narrator 1:  Beaver lived around that river, heard the moans and appeared.

Beaver:  (happily)  Yo!  Hey there!  What's up?  Why all the commotion?

Lumberjack:  (moans)  I'm a poor, honest, hard-working man who makes a living cutting down trees and selling the wood.  But, I accidentally dropped my axe just now in the river.  I have no other way to make money.  (moans louder)

Beaver:  No problem, Friend.  I can swim.  It happens.  I'll be right back.

Narrator 2:  So, Beaver slid down the steep bank and dove into the river, retrieving an axe of solid gold.  (Continued...)

Monologue

The Monologue

See sample monologues:

http://www.monologuegenie.com/basketball-therapy-monologue.html

Exercise: The Monologue

ONE: Dealing with the Past

It is a common practice with monologues that a character relates a past story in order to illuminate something that is currently happening the plot of the play.

The problem with these types of monologues is when a character says, "I remember." "I remember" creates an insular experience; it's something that only happened to the character and it's difficult for the audience to share in the event. The audience doesn't remember.

Another problem with past monologues is the use of the past tense. When something has happened in the past, it's over, it's done. Using the present tense is much more alive and active.

EXERCISE

1. Write a monologue where the first line is 'I remember when...' and uses the past tense. Have a character talk about a childhood memory that has significant impact on how they are today.
2. Re-write the monologue, taking out all mentions of 'remembering.' Just tell the story.
3. Re-write the monologue in the present tense.
4. Read aloud the first version and then the third. Discuss the differences.

TWO: Making the Story Count

If a character tells a story in a monologue - "I went to the grocery store and THIS JUST HAPPENED," there has to be something besides the base story going on for the audience. There has to be more. The story has to show something: a character flaw, a plot point we didn't know, a lie, a romance, and so on.

EXERCISE

1. Write a monologue where the character tells a story about going to a parade.
2. Re-write the monologue so that by telling the story, the audience sees the character is a liar.
3. Re-write the monologue so that by telling the story, the audience sees the character is heartbroken.
4. Re-write the monologue so that by telling the story, the audience sees the character is in love.

THREE: The Need to Speak

In every monologue a character must 'need to speak.' Otherwise, why is the monologue there? In every monologue you write, you must determine the need for the character to speak. What drives the character? Is there anything that stands in the way of the character's need to speak? The character doesn't necessarily have to succeed with what they need. Maybe they're too afraid, or they change their mind, or there's something stopping them. Obstacles are good! But start with the need and then see what happens.

EXERCISE

Choose one of the following needs. What kind of character would have that need? Give them a name, an age, and a physical appearance. Who are they talking to? Who is the listener? What is the relationship? Decide if your character will succeed or fail with their need. Now write the monologue.

1. The character needs to reveal a secret to the listener.
2. The character needs to prove something to the listener.
3. The character needs to reveal they love the listener.
4. The character needs to reveal they hate the listener.
5. The character needs to stand up to the listener.