A1 C3

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Curtin University *

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Arts Humanities

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Dec 6, 2023

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docx

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Uploaded by JusticeIce17994

Performing Arts for Educators: Learning Reflection (A1.C3) Reflective Drama Practitioner template Name Date completed 5/10/23 Guidelines 1. When completing each section your aim is to ‘make visible’ the degree to which you can examine the learning experience within the context of the unit's content and purpose. Your responses should be contextualised within professional knowledge and understandings. This means you need to think about the learning experience in the context of the readings, viewings, discussions and activities you have completed. 2. Use in-text citations and add the reference at the end of the document. 1. The arts learning processes - what did you do? Make sure you use the relevant arts terminology. I.e., This is a simple explanation of the main steps taken towards completing the Arts Making and the Arts Responding activities. Remember the learning process begins with activities such as brainstorming or researching. After thoroughly reading through the Assessment 1 folder, I was hesitant to start due to the daunting and overwhelming tasks involved. Thankfully for the activities in weeks 1-3 helped guide me with my story, confidence and brainstorming for this component. The oral storytelling seemed to be the hardest task for myself to compose. I started with brainstorming story ideas and started with a script. I had a very clear idea of what I wanted to orally tell and after getting feedback from my tutor, I wrote a more intense script with would soon be my first draft. According to Dinham (2022) the illumination or stage 3 of the creative process was made when I made my first draft (p. 118). Once I had started practising my storytelling in front of the camera, I soon realised I had written too much. I had to condense my story without compromising the effect of the story. This then became the verification stage of the creative process (Dinham 2022 p. 118). I wanted to captivate the audience in any way I could even with my shy nature. The moral of the story would be known at the end as I feel my story will relate to many and their own emotions. After much consideration, in component 2 I decided upon Charlotte’s Web ‘Saving the Runt’ due as I was able to find several elements of drama to identify. This clip allowed me to go further than seeing the obvious and dig deep into the elements that make that scene wholesome and stage-worthy with greater meanings. 2. Studio habits of mind. These are a guide to the nature of learning in the arts. Where possible, insert a sentence describing how each of these featured in your own work process for the Arts Making and the Arts Responding activities. These Studio Habits of Mind are abridged and adapted from Hetland, Winner, Veenema & Sheridan, (2007). More information can be found online including here: http://www.everyarteverychild.org/assessment/studiohabits.html Develop craft Technique: learning to use arts language, conventions, styles. Working respectfully with props, Making: I practised several dramatic elements in front of the camera which included attempting voices and gestures.
instruments and other equipment. Responding: Watching the clip of ‘Saving the Runt’ multiple times to recognise the drama elements used and seen. Engage & persist Embrace relevant problems, develop focus and other mental states for working & persevering. Making: I had over 50 attempts of filming myself telling my story. I would delete my attempts straightway that I would feel I failed at engaging the audience or using dramatic elements etc. Responding: After seeing component 1 and dreading the fact that I would have to make the video eventually. I completed component 2 first to gather more insight of elements in Charlotte’s Web before making the video. This helped in identifying dramatic elements I could use for component 1. Envision Mentally picture or imagine possibilities and next steps. Making: I had a clear mental vision of what I wanted my oral story telling video to be. I thought it had to be this massive dramatic performance like in a play, but I watched videos on YouTube of previous students and that gave me confidence in my ‘acting’ skills. Responding: The producer of Charlotte’s Web envisioned the scene of innocence within the actress and the piglets. Express Aim to create work that conveys your ideas, feelings or personal meaning. Making: The aim of my story telling would be relief and wanderlust. I wanted my audience to sympathise with me in my storytelling video. Responding: The emotions in ‘Saving the runt’ are sadness and relief. These are expressed through facial expressions, music, and dialogue with tone. The aim of the scene in Charlotte’s web was for the audience to sympathise with the pig and Charlotte. Observe Attend to careful, considered looking/viewing/listening. Making: I started my story with a description of a character and my feelings of wanting to travel. Responding: I had to watch the scene from Charlotte’s Web and study the characters persona from a short clip. Doing this I wrote down each element as I saw them. This gave me practise for both components. Reflect Question, explain & evaluate your work. Making: When reflecting on my script, I questioned if some parts were necessary for the timing of 3 minutes. Responding: I started to overthink each element and how many I saw. My word limit was taken up too quickly so had to choose important ones. Stretch & explore Reach beyond limitations, explore playfully, embrace opportunities to learn from mistakes. Making: I struggled to tell my story without error or stuttering like it was forced. I had to remember it was my story and I lived through it, no one knows it better than I.
Responding: I watched the entire movie just for clarity of all drama elements I was noticing to get the feel of the movie. Understand art world Learning about the domain of art (the world of art/arts history) and participating authentically in arts making while understanding yourself as being part of an arts community. Making: In my performance I tried to add drama elements which included gestures, tone & voice changes, and facial expressions. This helped me understand the work that goes into an item for the arts community. Responding: Noticing and reflecting on each drama element, it was clear how the performance was all tied together leaning on each element. Summary Reviewing the above, what do you observe about your thinking and actions in relation to your arts learning In completing the making and responding activity, I tried to dive deep into each. I feel confident I used the correct drama elements in my video when needed as well as sighting them in component 2. 3. Identify two elements of drama you employed in your oral storytelling and describe how they contributed to your performance. Make sure you use the relevant arts terminology. E.g., I created tension at the critical point of the story by pausing and then lowering my voice. This was to draw the audience’s attention to the next event in the story that represented the turning point. I chose to use the voice and movement drama element as a contributing element to enhance my storytelling performance. I used my voice to clearly distinguish characters in my story. With this, I tried to entice the audience and draw them into my drama (Dinham 2022 p.244). The use of movement throughout the performance, including gestures, facial expressions and pauses, is how I communicated with the audience throughout the storytelling by painting an image in their mind's eye about the scene. I used facial expressions, a pause and even movement of the head in the critical part of the story; losing the luggage. This was used to draw the audience into the next part of the story, the anticipation of what will happen next. The use of the song was used to develop my language through rhythm and engage with the audience with a fun aspect. I used tone, raised my voice and even sound effects of knocking to enhance my performance. Tension was the next dramatic element to be used in my performance solely based on the mystery and drama of the story. The idea of myself going home and not booking straightaway gives mystery towards the audience with the feeling of the unknown as well as the unknown of whether I will get my luggage. The anticipation of how my holiday would be or how I would handle it without my luggage, money, safety etc was reflected in the tension of wordplay. 4. What is one insight gained (something you discovered) from completing the Arts Responding activity? Make sure you use the relevant arts terminology. This may be in relation to the subject or the curriculum or approaches to teaching etc. The arts responding activity allowed me to discover the arts on another level by analysing the variety of elements in various performances including my own. Dinham defines authentic arts learning as a multidimensional experience that helps children develop critical thinking, aesthetic sensibilities, cultural understanding, and expressive capacities (p.44). I too have learned these skills during component 2 that I can then pass along to students when analysing performances. According to ACARA through critical and contextual study of artworks and by creating their own, students learn to understand, appreciate, and critique the arts. The variety of dramatic elements within a single performance is fascinating to observe, especially
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