STORY ADAPTATIONS!

FOR CHILDREN

You will create an adaptation of a fairy tale or popular story for an audience
of children.
You can tell the story straight, or modify or parody it.
Keep in mind that for an audience of children
THE CONTENT MUST BE EXTRA-APPROPRIATE!
SUCCESS CRITERIA:
a) A strong storyline:
Introduce your characters, establish a conflict, build to a climax, and resolve (good or bad)
b) Each actor should play at least TWO different parts very different types of characters!
c) AT LEAST two different locations should be used with one unit set NO CHANGING THE SET!!!
d) Interesting staging no sitting or just standing for too long!
e) Begin and end your scene in tableaux.
f) Around 5 minutes in length.
g) Use CHORAL SPEAKING elements and SOAP OPERA-like exaggerations of dramatic moments

Note: your rubric includes elements from your work in PERFORMANCE, REHEARSALS and as an
AUDIENCE MEMBER!
Day One: Brainstorming
Give a brief outline of your storyline, including character names and the actors who will play them.
What happens at the beginning? The middle? The end?
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Day Two: Staging

Draw your set be sure to include WHAT the set pieces are you have drawn (ie Box = directors chair)

Audience
Day Three: Work-in-Progress performances
Rehearse your scene for Mr. Furmaniuk and the audience. We will give you feedback on how you can improve
your scene.
What feedback did you receive?

STORY ADAPTATION SCENE RUBRIC

Performance:
Communication
Facial Expressions

R (less than 50%)

Facial expressions
not used

LEVEL ONE
Facial
expressions are
limited

LEVEL TWO
Facial expressions
are occasionally
used

LEVEL THREE
Facial
expressions are
often used to
communicate
character/story

LEVEL FOUR
Facial
expressions are
strong, varied,
and consistently
enhance
character/story
Physical choices
are powerful,
relevant,
consistent and
enhance
character/story

Use of body

Physical choices
are nonexistent

Physical choices
are
limited/random

Physical choices
are often and
effectively used
to communicate
character/story

Production
elements

Production
elements are
nonexistent

Production
elements are
limited/random

Physical choices
are used
occasionally or
with moderate
effectiveness to
communicate
character/story
Production
elements are used
occasionally or
with moderate
effectiveness to
communicate
character/story

Production
elements are
often and
effectively used
to communicate
character/story

Production
elements are
engaging,
relevant,
consistent and
enhance
character/story

Application
Staging (use of
principles)

Performers rarely
move

Staging choices
are
limited/random

Staging choices
are used
occasionally with
moderate
effectiveness to
communicate
character/story

Staging choices
are powerful,
relevant,
consistent;
demonstrate
clear
understanding of
principles

Focus/commitment
to the truth of the
scene

Performers are
completely
unfocused

Performers show
limited focus

Performers are
occasionally
focused and
committed to the
truth of the scene

Clarity of story

Story is
incomprehensible

Story is
unfocused and
random

Story is
somewhat
comprehensible,
but makes little
sense

Performers
demonstrate
some
understanding of
how to use
principles of
staging to
communicate
character/story
Performers
demonstrate
some focus and
commitment to
the truth of the
scene
Story can be
understood

LEVEL THREE
Student is
usually working
with others to
build scene

LEVEL FOUR
Student
contributes ideas,
feedback, and
positive energy to
rehearsals

Performers are
consistently
focused and
committed
Story is clear,
engaging, and
surprising

Rehearsal:
Application
Focus/commitment
to rehearsal

R (less than 50%)

Student is
disruptive/does not
contribute to
rehearsals

LEVEL ONE
Student is
unfocused during
rehearsals

LEVEL TWO
Student
contributes
occasionally to
rehearsals