LESSON PLAN TEMPLATE

Year Level: 7 Peri !/Le"" #: 1$2 Date: 2/9 T %i&: Drama Time: 10.20 11.35 Le#'t(: 1(r15

Lesson Outcomes: Students will be able to/know To explore the body language of status and power To identify and enact human responses to messages of welcome or rejection. Assessment of the outcomes: (How will I assess that students have achieved/demonstrated the outcomes?)

)NT*OD+,TO*Y P-ASE: Time

10.20

A&tivit.
"lass wal# $ police officer% scared little mouse% judge% student who&s just been told off% angry mother% little #id who&s tired

O/0e&tive
'etting students into using their bodies in different positions of status and power

)#!i&at r
8tudents are exaggerating the different body languages of the listed 5characters&. +a.ing fun.

10. !

'et pictures ready whilst tal#ing of typical status types. As# students each time (who has higher status here)* (+as this person got high or low status) , -hy)*
"lass discuss status -hat is status) $ T(e am 1#t 2 % 3er " me #e (a" i# relati # t t( "e ar 1#! t(em. -hat gi.es a person status) $ /t depends. Age% loo#s% s#ill% intelligence% name% & #2i!e#&e% etc. Stat1" &(a#'e" !e%e#!i#' # 3( #e i" 3it(. 0ody language% and the way one relates to space and objects% often reflects a character&s status. doesn&t always mean low status $ sometimes it means tired% cold% etc.1 23emonstrate playing high 4 low status to space and objects $ enter the room playing high 4 low status to the door% to a chair1.

To gi.e students a clear picture of the 5archetypes& of status and power in the forms of the types of people they do4ha.e come across in their own li.es so that they may mimic and4re6enact their beha.iours. 'et the students used to watching people out in public 2in a polite manner1 so that they may begin to build a 5repetoire& of body languages4stances4.oices.

8tudents drawing parallels between some of the gi.en concepts and 3iagnostic 7uestioning 6 getting students to draw on their their own ideas. Answering own obser.ations and understandings of this new topic. To 7uestions.
show them that they ha.e the power to obser.e already with in them.

10.30

-AL9 /T% TAL9 /T: :ingle around the room% wal#ing and tal#ing in the manner of: TO;'+8 $ slouch% swagger% call out across room to mates. <air up on command: =0 seconds to boast about your latest tough deed. )#timi!ate T/:/38 $ scuttle% dart% ma#e little greetings as you pass. <air up on command: =0 seconds to as# for directions 4al5 # e''"(ell" 8TA>8 $ saunter or strut% greet your fans% stop to pose for cameras. <air up on command: =0 seconds to boast about your latest mo.ie or engagement. 6 a"t. E' .
8T;3?@T8 6 a"5 "t1!e#t" t %rete#! t(e. are "t1!e#t" 3it( (i'( "tat1"7 t(e# l 3 "tat1". P i#t 1t t(at t(e / !. la#'1a'e t(e. 1"e 2 r l 3 "tat1"

8tudents to embody some of the 5real life archetypes& that we ha.e just seen in picture form and discussed.

8tudents understanding and embodying the different types of body postures.

1. . =. !.

Offer @ot 0loc#ing the offer Accepting the offer ?xtending that offer

/t&s always about the potential of a scene $ letting it grow to your extent of your imagination and creati.ity. 81e"ti # 'r 1% a/ 1t "5it i!ea"/ 22er". ?g: (/s this chocolate bar on the ground yours)* (@o* A8 (yes there it isB /&m so hungry ,oh my goodness my face is getting so hotB ,*

6ODY O9 LESSON: Time A&tivit. 10.35 C people D E;am: ! "+A/>8: -i'( t l 3 "tat1" 1"t person come in and sit down% 1st there feeling good. 2#! person running late% pat yourself down realise you&.e no papers. Loo# around and snatch 1st person&s who loo#s forlon% start wor#ing 3r! person $ same :t( person $ teacher% come in and snatch them all of des#% time<" 1%== : .ery bra.e students to pretend to be teacher: (i'( "tat1" v" l 3 "tat1". Teacher with high or low) Let us #now. : students to 3al5 i#: (i'( "tat1" t l 3 status $ scenario 2 students direct wal# +"i#' / !. la#'1a'e t 'et t(r 1'( &r 3! 3it( 1t "t %%i#'

O/0e&tive

)#!i&at r

8tudents to feel and understand that status can be more complex than the 5real life archetypes& we&.e just loo#ed at4discussed. 8tatus and power can be a .ery flexible thing that can change with in a second by the simple ways in which characters are treated 2or people in real life1. This is for students to feel what it&s li#e to go from high to low status in an instant.

0ody to represent this idea.

10.:0

5+igher ris#& way of students portraying what they&.e learnt.

8tudents happy to .olunteer and presenting the high and low status body postures4.oices 2instincti.ely1.

10.!C

10.C0

11.00

8cenes in pairs

11.05

<olished impro.isations $ 8cenarios at bottom of pages. <resent Opportunities for students to perform in front of peers.

11.1C

,ONSOL)DAT)ON:

Time

A&tivit.

O/0e&tive

)#!i&at r

/E time

Fueens% 8a#ata% 0angB 0us 8top% gi.e couple 1st line $ to come up with G all up% mirror.

Hou&re ha.ing a fantastic time at lunch playing four s7uare $ and best of all you #eep winning 6 o.er and o.er again. 0;IIIB There goes the bell% e.eryone runs off to class. Aery thirsty after such ferocious playing you cannot do without a drin#. Hou&re so thirsty you wonder if you could drin# an entire swimming poolB EinallyB Hour thirst is 7uenched. Eeeling extremely refreshed and satisfied% you loo# down at your digital watch: 1.=J)BBBB Hour class starts at 1.!0 and craKy :r. Lohnson is ta#ing you for :aths this lessonB Hou&re so worried you&ll be late and your .ery strict :aths teacher :r. Lohnson will be angry at and punish $ so you run frantically to your class. Hou run li#e the wind with arms flailing% legs feeling hea.y as you&.e spent all lunch pro.ing you&re the 9ing of four s7uare and a tummy .ery full of water swishing aroundB /n your mad scramble you accidently #noc# someone o.er lea.ing the casualty and their explosion of papers behind $ normally you would stop to see if they were o#ay but it&s a matter of life and deathB Hou cur.e your way around the corner and s#id to a stop to your class room door with the fear of 'od in your heart , but , to your utter delight you loo# up at the digital cloc# o.er the door ha.e reached your class just on 1.!0 $ right on timeB Eeeling utterly relie.ed you loo# down to where :r. Lohnson would normally be standing $ he&s not thereB Hou swagger to your table feeling li#e a million buc#s $ apparently there&s a relief teacher. 8ure enough in comes someone you&.e not seen before. Or ha.e you) /t suddenly dawns on you , the person you #noc#ed down in the hall was your relief teacherBBB 8how what happens nextB

Hou&re strolling through a leafy green par# on a sunny 8pring day% you ha.en&t got anywhere you need to be% you can leisurely enjoy the beautiful .iew surrounding you and you&.e just had a great lunch at your fa.ourite cafM. Life is feeling pretty good right now. There&s a little old lady you&.e been thin#ing of o.er ta#ing as you&.e been wal#ing for about C0 metres now% but hey% you ha.en&t got anywhere to be% plus she&s starting to ta#e a different path to you. As she slowly starts to turn down a path to the left% she sneeKes and pulls out a han#y of her slee.e% as she does a crisp% C0 dollar note flits out at the same time and floats li#e a feather% right onto your path as if by magic. AmaKed and delighted% you #now it&s not yours so call to the old lady% she doesn&t answer. Hou try again but she seems to ha.e been propelled by now sneeKing fit and is well out of ear shot , plus she& s probably going deaf anyway. Hou thin# to yourself% it&s such a wonderful day% perhaps that NC0 is meant for you , she won&t miss it right) Hou put it in your poc#et. Hou loo# left% you loo# right , it&s yoursB Hou start your glorious wal# again feeling .ery happy in yourself when (?xcuse meBB* Hou loo# behind you and a policeman is coming straight for youB -hat happens next)

Fueen 2purpose $ demonstrate status1 8tudents form pairs. One student is the master% the other is the ser.ant. The master is to wield absolute power% including the power of life and death% o.er the ser.ant. The master is to order and demand% and no matter how unreasonable the master&s demands are% the ser.ant must obey them. The ser.ant is to bow and scrape and try to #eep up with the master&s demands% but the master is to ma#e their demands so unreasonable the ser.ant struggles to #eep up. ?ncourage the students to exaggerate and play these characters for comedy. 0efore beginning% list on the board: O >e7uests 4 complaints 2eg. 0ring me some waterB , This is L;9?-A>:B / want "+/LL?3B1 O Titles to crawl 4 suc# up 2eg. "oming% your royal lo.elinessB +ere it is% O most worthy Lord and :asterB And may / say your shoes are particularly shiny today)1 O +umorous insults 2eg. Hou lowlifeB Hou wormB Hou piece of turtle snotB1 /n pairs% as# student to come up with one of each. -rite all suggestions on the board. This will gi.e students ideas for when they bring :aster 4 8er.ant to life. -hen the bell rings% students to switch roles. After the acti.ity% the teacher can as# for .olunteers to perform their :aster 4 8er.ant scene to the class.

Einish 4 summing up 4 lin# to the next lesson: +omewor#:

?.aluation: 8tudent: Outcomes met / engaged / on task / learning

:y teaching:

Strengths / Weaknesses / Changes

<rinciple =: 8tay in the :oment /n impro. what is happening @O- is the #ey to disco.ery. / was at a Library Eutures conference recently and heard someone say% P/&m .ery interested in the future because that&s where most of my life will happen.P That got a big laugh. -ell /&m .ery interested in this moment% because that&s where ALL of my life has happened. And /&m pretty sure that&s where most of the action is. 2"oincidentally% it was at the library futures conference that :ary "atherine 0ateson suggested that the best way to prepare for the future is to ta#e an impro. class...1 <rinciple !: 8hut up and Listen 'ood impro.isers are not necessarily more cle.er% or more 7uic#6witted. They just listen better, /mpro. is about hearing what others are offering% and building off it. /t&s hard to do that when your gums are flappin&. <rinciple C. Action beats inaction 3on&t tal# about doing it% do it. 0e specific. /n /mpro. there is a Pbias for actionP. /&.e also seen the term Pbias for actionP listed as a common trait of effecti.e leaders. -hy) 0ecause acti.e choices mo.e things forward. The more specific the choice the better. 8pecific choices are committed choices. 8pecific choices mo.e things forward and allow others to respond to and build off of your offers. <rinciple G. 0e honest /n impro. we are taught to express whate.er is coming up in us at that moment. To do that we ha.e to learn not to censor or judge our own thoughts% which re7uires some major rewiring of the brain, The only .alue we bring to the scene is our honest response to what&s happening. <rinciple Q: Let go of 2your need to1 control The only thing we can control are our own choices. >ealiKing that we are not in control of anything else is the #ey to de6stressing and getting into the flow. And the flow is where we are creati.e. The flow is where we are producti.e. The flow is where we are connected to others. The flow is where we are happy. Ran asideS /nterestingly, -hat happens when we stop focusing energy on things that we can&t control) That energy gets focused on things that we can control% and ironically% we end up exerting more influence. <rinciple T. There are no mista#es ?arlier / said that we ha.e to be willing to ma#e mista#es. 0ut mo.ing beyond that% we learn to not see choices as mista#es. /n impro.% there are no mista#es or bad ideas% there are only interesting choices. -e respect all the

choices 2a#a offers1 made by others% and find ways to build off of them% no matter how challenging they may be. There are no mista#es because e.erything can be built upon. ?.erything that happens is an opportunity. <rinciple J: Trust Learning impro. we learn to trust oursel.es. -e trust our impulses and our choices 2which we can do because there are no mista#es% and we are not alone.1 And we learn to trust in others 2to PjustifyP our Pinteresting choicesP% build off them% and wea.e them into the fabric of the scene.1 -hen learning to trust our ideas% it helps to remember that ideas are infinite. 8o no matter what strange hole it seems we&.e dug oursel.es into in a scene% there are an infinite number of ideas that can help dig us out. <rinciple 10. Teamwor# 2row% row% row1 -e&re all in this together. @o one person is responsible for the success or failure of a scene. /t succeeds% or not% based on our ability to wor# together. This re7uires strong indi.iduals ma#ing strong choices% who trust each other and themsel.es. As a group% we learn to focus on solutions. As indi.iduals we learn to focus on getting results 2i.e. mo.ing the scene forward1 instead of being right% or angling for attention or credit. -e rise% or fall% as one. The ;ber <rinciple: PHes% and...P 8o there are the big 10 principles of impro. as seen by an impro. newbie. 0ut /&d li#e to conclude by mentioning one final impro. principle. /t&s a principle that runs through all the others and infuses impro. with it&s spirit. This is the principle of PHes% andP. PHes% andP means that we accept e.erything that happens as an offer% as a gift. /t is our job to bring our uni7ue perspecti.e to bear% and build off of whate.er is gi.en to us. PHes andP implies acceptance% but not ac7uiescence. PHes andP ac#nowledges the reality of the moment% but also inspires us to create the future. Y 1 a#! . 1r 2rie#! are "etti#' 22 1t t "ea i# . 1r 1t>/ ar! e#'i#e m t r / at. Y 1 are 2eeli#' & #2i!e#t a/ 1t &at&(i#' " me 3(iti#' 2 r !i##er7 /1t . 1r 2rie#! i" "&are!7 /e&a1"e (e/"(e 3at&(e! ?@a3" ? a#! i" # 3 terri2ie! 2 "(ar5". Y 1 are ver. %er"1a"ive a#! /e2 re l #' . 1 are &(1''i#' 1t t t(e t(ree>5il metre mar5. Ever.t(i#' i" ' i#' "m t(l. a#! . 1 are reeli#' i# t(e /i' &at&(e"7 1#til it i" time t ret1r# t "( re. T(e e#'i#e 3ill # t "tart a#! . 1r 2rie#! (a" ' #e i#t e;treme %a#i& m !e. Y 1 ta5e & #tr l a#! 'et 1t t(e tr1"t. ar". T(i#'" are %r 're""i#' 3ell a#! la#! i" !ra3i#' #earer. ,-OMP= O#e 2 t(e ar" i" mi""i#'= O#l. #e le2t= O( # = N #e le2t= Y 1 &a# # 3 2eel t(e vi/rati #" 2 " met(i#' #1!'i#' t(e 1#!er#eat( "i!e 2 t(e / at. S( 3 3(at (a%%e#". r Y 1 (ave 01"t (a! a D 1/le 81arter P 1#!er a#! a lar'e !ri#5 a#! . 1 ' t meet . 1r 2rie#! at t(e rail3a. "tati #. T 'et(er . 1 &at&( t(e #e;t trai#. Y 1r 2rie#! (a" a me'a "iAe %a&5et 2 T3i"tie"7 a %a&5et 2 A2ter>Di##er Mi#t" a#! a t3 litre 9a#ta. T 'et(er . 1 2i#i"( t(e"e 22 a#! . 1 are # 3 ver. 21ll. At t(e #e;t "tati # a (1'e &r 3! 'et" #. Y 1 are # 3 rat(er & m%re""e! a#! t(e tem%erat1re i" ri"i#'. S t i" all t(at 2 != Y 1 &a# 2eel t(e 9a#ta ma5i#' it" 3a. 1% . 1r t(r at a#! it i" ta5i#' all 2 . 1r & #&e#trati # t %reve#t . 1r"el2 2r m /ei#' "i&5. S( 3 3(at (a%%e#" 3(e# t(ere i" # 3a. t(at . 1 &a# ma5e it t t(e ! r= r Y 1 are 3al5i#' ( me a#! e#0 .i#' t(e "mell" a#! "i'(t" 2 S%ri#'. A "ea'1ll %a""e" ver(ea! a#! !e% "it" a 're.7 /la&5 a#! 3(ite liB1i! me"" all ver . 1r (ea!. )t tri&5le" ! 3# . 1r 2a&e a#! #t . 1r 'la""e"7 O1t 2 #e&e""it. . 1 m1"t &lea# t(em7 /e&a1"e 3it( 1t . 1r 'la""e"7 . 1 are /li#!. Sa!l. . 1 !r % t(em a#! i# t(e & #21"i # e#! 1% trea!i#' # . 1r 3# 'la""e". Determi#e! t %r &ee! ( me7 . 1 & #ti#1e t(e 0 1r#e. ( me. A" . 1 & me r 1#! t(e & r#er7 . 1 are reall. %lea"e! t "ee . 1r /e"t 2rie#!C. - 3ever (e/"(e i" a&ti#' "tra#'el.C eve# i'# ri#' . 1. S( 3 3(at (a%%e#" 3(e# . 1 2i#! 1t t(at . 1 (ave /ee# (avi#' a & #ver"ati # 3it( a "t /ie % le=