Interdisciplinary Unit Planner

Teacher(s) RK& Subject groups Visual Arts &

TF Drama

Unit title The Director’s MYP year 3 (Grade 8) Unit duration 50 hours total
Studio 20 Visual Arts
20 Drama
10 Interdisciplinary

Inquiry: establishing the purpose of an interdisciplinary unit

Purpose of integration

Successful theatrical productions are the culmination of intense collaboration between dramatic artists (actors, directors, stage
managers) and visual artists (set, costume, props, lighting, and makeup designers). Actors are often frustrated when their
productions lack polish or they are uninspired due to poor production values. Visual artists, meanwhile, do not often get the
chance to apply their skills to a real-world production. For both groups, the act of collaborating on a shared project is a valuable
lesson in cooperation and in compromise. These important learning skills will serve students well in their future endeavours.

Key concept(s)/(related concepts) Global Context

Key Concept: Communication (Arts) Identities and relationships

The plays are about (mis)communicating messages, there’s Language and literature studies typically involve the analysis of
the “meta” message about bullying in society, the sets and written text, yet the majority of our communications occur
costumes involve sending messages to the audience using socially. Our posture, our tone, our accents, the clothes we
visual and corporeal cues, and there is intense collaboration wear, the accessories we flaunt - all communicate essential
and communication between team members during the and implicit information about our identities and our
project. relationships not necessarily included in the spoken message
itself. Theatre is a medium for exposing the subtexts of human
Related Concepts (Visual Arts): communication and for exploring identity in subtle and
Representation unexpected ways.

Related Concepts (Drama):

Expression

Statement of inquiry

The ways in which we express and represent ourselves communicate our identities and relationships to others. Our dress, our
posture - even our environments - transmit our status and our values to others before we open our mouths to speak.

Inquiry questions

Factual -
What aspects of set and costume design transmit mood, character, and culture?
How do actors communicate identity and relationships implicitly (without speaking)?

Conceptual -
Shakespeare’s plays are over 400 years old. Why are they still produced today?
Why does theatre exist? What purpose does it serve?

Debatable -
What is the role of theatre in popular culture? Does it shape cultural identities or merely reflect them?
Does theatre accurately represent cultural identity and values? Why or why not?
What transmits status and culture more effectively: visual cues (what others see) or auditory cues (what others hear)?
 When it comes to questioning or awaking society over a impactful issue which is better to use Dramatic arts or Visual Arts
techniques?

Summative assessment—interdisciplinary performance(s) of understanding

Interdisciplinary criteria Task(s)

A: Disciplinary grounding Create a director’s notebook for a selected scene from a play in The Bullying Collection by E.
M. Bell. A director’s notebook is a record of all elements of a theatrical production overseen by
B: Synthesizing
a play’s director. For this summative task, students will be asked to include the following
C: Communicating elements:
D: Reflecting ● Character analysis
● Line interpretation for guiding actor direction
● Stage direction and blocking
● Costume design
● Set design
Submissions may be paper-based, digital, or a combination of both. Students will be asked to
submit costume designs using one of the following formats: watercolour painting or collage).
Set designs should be submitted in one of the following formats: maquette or digital CAD such
as Google Sketchup. Students must also prepare a floor plan from the set design for actor
blocking.

Approaches to learning (ATL)

Common ATL skills developed in this unit:

Communication Skills: Students will present their ideas and products (drafts, rehearsals, director’s notebook) to others during
peer-assessment sessions all while explaining and justifying their artistic choices. During the research phase they will interpret a
play’s messages, both explicit and implicit, and interpret them in ways that are accessible to audiences through speech, action,
and visual design. They will use discipline-specific terms and symbols during project discussions such as blocking, props,
subtext, etc.

Collaboration Skills: During group work students will be required to build consensus when settling on basic blocking and
character motivations for their play’s characters. They will need to listen actively to others, and to give and receive meaningful
and constructive feedback during rehearsals as well as during peer-assessment sessions.

Self-Management: Students develop perseverance and resilience by responding to self-assessment, peer-assessment, and
instructor feedback. Students will also manage their time by planning their creations through the Arts Process Journal.
Developing a director’s notebook requires strong organisational skills and the ability to juggle and to integrate a variety of tasks
simultaneously. Students will also be responsible for managing their limited rehearsal time to be able to complete their group
work.

Reflection Skills: Through the Arts Process Journal, students record their observations and reflections. During classroom
discussions and activities they learn from the work of others and they also identify areas for further exploration. Students identify
the strengths and weaknesses of their artistic interpretations (whether acting or design choices) and adapt their approaches
accordingly. These changes are reflected in the final draft of the director’s notebook.

Research Skills: Students will need to research their character’s background and cultural context as well as imagery and
symbolism reflecting time and place for their set and costume designs. Reflecting other cultures respectfully in their work build
intercultural awareness. Students present information in a variety of formats during peer-assessment exercises and they tailor
their presentations to their audiences.

Critical-Thinking Skills: Students identify potential obstacles and challenges to their acting choices, blocking, costumes, and
set designs. They observe and assess information from a variety of sources, considering others’ perspectives and ideas during
brainstorming sessions and during rehearsals. They identify problems and then develop constructive solutions to those problems
which are reflected in their Arts Process Journals. Their solutions are novel, well-considered and they are recorded in the final
draft of the director’s notebook.

Transfer Skills: Students apply knowledge gained from Drama to the Visual Arts and vice-versa. The purpose of the unit is to
reinforce that theatrical production is the product of cross-pollination and collaboration between two separate disciplines. The
director’s notebook pushes students to integrate the knowledge from both disciplines into one product.
Action: Teaching and learning through interdisciplinary inquiry

Disciplinary grounding

Subject: Arts (Drama) Subject: Arts (Visual Arts)

MYP objectives MYP objectives

A1. demonstrate knowledge and understanding of the art form A1. demonstrate knowledge of the art form studied, including
studied, including concepts, processes, and the use of concepts, processes, and the use of appropriate language
subject-specific terminology
B1. demonstrate the acquisition and development of the skills
C1. develop a feasible, clear, imaginative and coherent artistic and techniques of the art form studied
intention
C2. outline alternatives, perspectives, and imaginative
D2. create an artistic response that intends to reflect or impact solutions
on the world around them
D2: create an artistic response inspired by the world around
D3. critique the artwork of self and others. them
Ontario Curriculum: Ontario Curriculum:
B1. Creating and Presenting: apply the creative process (see D1. Creating and Presenting: apply the creative process (see
pages 19–22) to process drama and the development of drama pages 19–22) to produce art works in a variety of traditional
works, using the elements and conventions of drama to two- and three-dimensional forms, as well as multimedia art
communicate feelings, ideas, and multiple perspectives; works, that communicate feelings, ideas, and understandings,
using elements, principles, and techniques of visual arts as
B2. Reflecting, Responding, and Analysing: apply the critical
well as current media technologies;
analysis process (see pages 23–28) to communicate feelings,
ideas, and understandings in response to a variety of drama D2. Reflecting, Responding, and Analysing: apply the critical
works and experiences; analysis process (see pages 23–28) to communicate feelings,
ideas, and understandings in response to a variety of art works
and art experiences;
Related concepts Related concepts

Representation and Expression Representation, Expression

Content Content
● Learning the vocabulary for theatre specifically in ● Costume design vocabulary
regards to blocking, acting, and other directing elements ● Set design vocabulary
● Exercises would allow for students to get a hands-on ● Needs analysis for costume and set design including
approach of how to direct a scene such aspects as:
● Lecture style instruction will help them fill in the blanks of ○ Actor comfort and freedom of movement;
what one needs to keep in their director’s notebook, ○ Symbols and imagery that are accessible to
what to think about when creating their show book, etc. intended audiences;
○ Lighting design ○ Available performance space;
○ Costume Design ○ Thematic coherence;
○ Set Design ○ Available materials and human resources
○ Blocking notes (carpenters, tailors/seamstresses).
○ Acting notes ● Exploring formats for presenting design ideas to
○ Reflection notes direction and construction teams:
○ Overarching vision of the play (in this case their ○ Watercolour painting
scene) ○ Collage
○ This is the Holy Grail of the production every ○ Cardboard maquette
decision needs to be in here ○ 3D CAD
● Peer/ Self Reflection of the directing process of their ○ Floor plans
scene from the play The Bullying Collection ● Receiving and responding to constructive feedback.
○ In their elbow partners they will answers daily Giving effective, constructive feedback.
reflection questions such as; ● Communicating themes and concepts to the audience
○ What can their partner work on/focus on in using imagery and style.
tomorrow’s rehearsal?
○ Is there something missing from the DB
(Director’s Book) that they need to add? If so
what?
 ○ Etc.
All of these questions are intended to help keep
each other on track with the assignment
● Class/ Individual Reflection on how themes in this play
relate to their personal experiences and globally.
○ For example how does the theme of bullying in
The Bullying Collection relate to the student
directly and to our society as a whole? How do
they intend on showing or making these
connections for their intended audience?

Disciplinary learning engagements Disciplinary learning engagements and teaching

strategies
● Exploring different approaches to Directing through
exercises and videos 2 hours ● Small groups: Analysis of photos from field trip to
● Understanding what the specific role and responsibilities establish the vision of the play’s director as expressed
are of a director of a production through formal lecture through set and costume design. 1 hour
and class discussions (ongoing) 1-2 hours ● Sharing wall: Students select and submit images of real-
● Using the creative process to determine their vision for world “costumes” and rooms. Images are organised into
their scene from The Bullying Collection (ongoing) categories such as wealth, culture, trendiness, and
through elbow partners, teacher conferences, and political affiliation (conservative/liberal). 1 hour
personal reflections. 2 hours ● Workshop - Introduction to watercolour painting: sketch
● Creating their Director’s Notebook from exit tickets, self- on parchment paper, transfer to watercolour paper, wet-
reflection, peer reflections, teacher-student conferences, on-wet and dry painting techniques, working from lightest
etc. (ongoing) 3+ hours to darkest colours. 2 hours
● Applying their knowledge to direct a scene from The ● Workshop - Introduction to collage: collecting and
Bullying Collection 3+ hours curating images and materials, safe cutting techniques
● Performance and evaluation of their scene 1-2 Hours using X-acto blades, working with rubber cement. 2
hours
● Classroom debrief to review notes taken of director’s
Teaching Strategies response to questions regarding costume and set design
and revision process. Students break into small groups
Elbow Partners- Students will be assessing and reflecting on
to debate what advice was “most” important. 1 hour
their partner’s directing process throughout the unit through
● First Formative Individual Task: Draft of a costume
reflection questions of the day
design for a single character from selected play from
Portfolio (Director’s Notebook): Throughout the unit students The Bullying Collection. 1 hour + homework
will be creating different sections and pages to add to their ● Peer assessment: Presentation and feedback on
Portfolio as know as the Director’s Notebook. This is also one costume drafts using Google Forms and classroom
component of their summative assessment. discussion. 2 hours
Traditional Instruction: By using this teaching strategy ● Group collaboration: Students conduct a set needs
students will gain the necessary vocabulary they will need to analysis of their selected play from The Bullying
navigate this unit. Collection. Brainstorm and record design ideas. 1 hour
● Small group session: measuring and recording
Hands-On Instruction: Students will use different exercises to performance space dimensions for developing set design
help get hands-on experience of directing blocking, making and floor plan. 1 hour
production design elements, to meet their overarching vision ● Workshop - Introduction to 3D CAD design using Google
for their scene. Sketchup: Introduction to basic drawing tools, grouping
Exit Tickets/ Teacher-Student Conferences: By using these and cloning objects, painting and textures, lighting
tactics I will be able to check in with my students and allow effects, accessing and downloading objects from
them to check in with themselves to see if they are on track or Sketchup Library. 2 hours
if I need to step in and assist. ● Workshop - Introduction to cardboard maquette building:
Safe cutting techniques using X-acto blade, safe gluing
Rehearsal Times are as followed;
techniques using hot glue gun, building simple shapes
During Lunch Time using bristol board, acrylic painting techniques. 2 hours
After school for an hour ● Second Individual Formative Task: Draft a set design for
a single scene from selected play from The Bullying
Sometime in class Collection. 1 hour + homework
● Peer assessment: Presentation and feedback on set
design drafts using Google Forms and classroom
discussion. 2 hours
 ● Lunch hour and after-school labs for students requiring
access to design tools and materials. 10 hours
(optional)

Interdisciplinary learning process

Interdisciplinary learning experiences and teaching Formative assessment

strategies
Peer assessment on first drafts of:
● Review of Arts Process Journal requirements 1 hour
● Costume design
● Field trip to see a play (ideally including a backstage
● Set design
tour) 3 hours
● Character analysis
● Develop questions to ask of a director regarding the
● Blocking notes
blocking process as well as overseeing visual
production. 1 hour Arts Process Journal check-in
● Invite an experienced theatrical director to answer pre- Instructor feedback during labs
determined and spontaneous questions from students
regarding all elements of theatrical production. 1 hour Student-Teacher conferences during rehearsals
● Creation of teams to select play from The Bullying Peer feedback in rehearsals
Collection 1 hour
● Analysis of sample Director’s notebook in class 2 hours Differentiation
● Sharing of final Director’s notebooks 2 hours
Elbow/ Group Collaboration
Traditional Instruction led by teacher
Student Led Exercises
Option of adapting design, creation, and presentation options
based upon:
● Physical abilities/limitations
● Access to technologies
 ● Cultural considerations

Resources

The Bullying Collection by Alan Haehnel, Jonathan Dorf, Jonathan Rand, Don Zolidis, Ian McWethy, E. M. Bell, Sam Guzman,
Kendra Martin, Aaliyah Williams, and C. R. Wright http://www.origintheatrical.com.au/author/3905

Reflection: considering the planning, process and impact of the interdisciplinary inquiry

Prior to teaching the unit During After teaching

teaching the unit

My apprehension is the time limit. I do not feel like 50 hours is enough for what Theressa
and I want to accomplish, However, this apprehension could just be because of my lack of
experience in the classroom. Aside from that fear I really like how this unit is taking shape.
It was a great way to explore to incredible art fields that intertangle a lot. ---Rebecca

20 hours sounds like very little, but that’s over a month worth of classes, plus another 10
classes for shared interdisciplinary lessons.

I’m more concerned about giving my students the time they need to experiment with
techniques and to learn from each other, rather than over-scheduling the experience with
tons of lessons. My students may not have access at home to the materials needed to
accomplish their tasks, so in-class experimentation and after-school labs will be essential
to their success. Plus nothing teaches like doing!

I think Rebecca has the harder job of getting 8th graders to take risks and to be vulnerable
in front of their peers. --Theressa
I would definitely agree with Theressa I feel that getting students to expose them would be
hard. One of the ways I think I could conquer this would be to role model what they would
need to do, creating a barrier or trust. --Rebecca