A Readers' Theatre Script Adapted from Susan Nanus’s play, Ben Franklin
Narrator: Boston, 1716. Ben Franklin is ten years old, the youngest son in a family of 17 children.
[Ben comes forward looking sad.]
[Ben and Josiah enter.]
Ben: It’s school, Father. I cannot do the arithmetic
Josiah: Ben, I’ve been thinking. I wish I could keep on sending you to school even college. But many who have college learning do not earn a good living. And ours is a large family.
Ben: This is the end of my schooling?
Josiah: You’re old enough and clever enough to help me.
Narrator: Josiah makes candles and soap
Josiah: You can help me cut the candle wicks and fill the molds. Come
son, I’ll show you how.
[All exit.]
Narrator: So Ben works for his father for two years, but he doesn’t like candle making. Josiah has taken him around town to learn other trades.
[Josiah and Ben enter.]
Josiah: You’ve seen what men do- make doors, lay bricks, shoe horses. They do what needs doing. You’re 12 now, Ben. You must learn a trade.
Ben: What I really want to do is go to sea-.
Josiah: Like your brother? I’ll not hear of it!! Can’t you think of anything else??
Ben: I like reading. I’ve read most of your books, Father.
Josiah: I have it. You can work for your brother James!
Narrator: James is one of Ben’s older brothers. He has his own printing press and shop. James comes along and greets his father.
[Enter James]
Josiah: Greetings, James. We were just talking about you. How is the new
business going, son?
James: Very well, Father. In fact, so well that my helper and I can’t handle it all. Can you spare some time to help me?
Josiah: No, I can’t, but how about Ben?
James: Ben- in my print shop? Well, I don’t know…
Josiah: So, it’s settled. Ben will work for you. Now, Ben you will work for James-obey him. And James, you will teach Ben everything about being
a printer.
James/Ben: Yes sir.
[Exit Ben]
Josiah: [to himself] I hope this works. It’s better than going to sea.
[Exit Josiah]
Narrator: Ben leaves, but James is left, carrying a newspaper. James is now in his
print shop. He has just started a newspaper called the New England
Courant. Ben is in the street now selling it.
[Ben Enters]
James: [spreading a different newspaper on the table] Let’s see what the Boston
Newsletter says about us. Hmmm, they say we’re rude! That’s nonsense! They claim we joke about the English. Well, Boston needs a laugh every now and then.
Ben, how is our paper selling?
Ben: Fine! I stood on the corner and sold every copy!
James: Good. Now it’s time to clean up the place.
Narrator: James hands Ben a broom. James leaves to have his lunch. John Collins works in the bookstore and brings books to Ben, who reads every night.
[Enter John Collins]
John: Here’s a new one for you, Ben. It’s the Spectator. Straight from England.
Everybody says it’s great.
Ben: Thanks, I’ll get it back in the morning. Let’s continue our discussion
of yesterday.
John: Where were we? Oh, yes. We were talking about girls. You said they
should go to school, just like boys.
Ben: Girls CAN learn from books just as well as boys!
John: Well, I say that girls are naturally unequal to boys when it comes to
book learning.
Ben: That’s your opinion. I think you’re wrong. But you’ve a right to have a wrong opinion- and to talk about it.
John: [To audience[ Listen to that! Free speech!
Ben: Here’s an idea. How about I write some of my ideas and get them published in James’s newspaper?
John: [Laughing] Now I’ve really heard everything! Letter to the editor. Strong opinions! Signed B. Franklin, James Franklin’s little brother! Oh, that’s just terrific!
Ben: Wait. I’ll sign a MADE-UP name. I’ll be somebody else!
John: Who?
Ben: Well, for instance. I could be Mistress Silence Dogood. [He curties] I am a lady of 50 years and a widow. [He bats his eyes several times]
John: [He bows to “Mistress Dogood”] Your ideas are exactly like Ben Franklin’s!
Ben: James will never guess. I’ll just write the letter secretly and slip it under the door of the shop.
John: Good luck.. [He waves and exists]
Narrator: It is the next morning. James is in the print shop.
[Enter James]
James: [Picking up the letter which was slid under the door] What’s this? A news item?
James: [Reading the letter] Hmmm,...it says that schools should have athletic programs. Not bad at all. I’ll set it in type for tomorrow’s paper.
[Exit James]
Narrator: Later, after the paper has been printed and James has left, Ben’s friend John comes in.
[Enter John Collins and Ben]
John: Has James gone home?
Ben: [Smiling] Yes, and there’s tomorrow’s paper. See who’s in it.
John: [With pretend shock] It’s Mistress Silence Dogood! She’ll sell like hotcakes.
[All Exit]
Narrator: Ben’s letters are a great success. Everyone is reading the paper. James doesn’t mind criticizing the English. However, one article gets him into real trouble.
[Enter James and Ben]
James: You’ll have to get on without me for awhile.
Ben: What’s happened?
James: I’m going to jail. That’s what’s happened!
Ben: But why?
James: Remember the article I wrote about pirates off the coast?
Ben: Do you mean the one saying that the English were lazy about catching them?
James: Yes. Our British governors didn’t care much for that article.
Ben: They may have thought you were making fun of them.
James: Ah yes. So it’s off to prison for awhile. You’ll run the shop.
Ben: Of course.
James: Thank you, Ben. You’ll be publisher until I come back.
[James waves goodbye and leaves.]
[All exit]
Narrator: James is in jail for about a month. In the meantime, the paper grows. Mistress Dogood writes more articles. Ben is finishing one of them as James returns from prison.
[Enter Ben and James]
Ben: I’d better get this one finished before James gets here. [He folds the letter and is placing it on the floor just as James enters.]
James: What’s this? [He picks up the paper.] Why, Ben, you scoundrel! You’ve been Mistress Dogood all along?
Ben: Yes, I have. And I’ve sold a lot of papers for you while you were away by pretending to be Mistress Dogood.
James: [Angrily] Well, I’m back. And you and Mistress Dogood are leaving. Take your books and go!
[Ben gathers his things and leaves.]
[James then exits.]
Narrator: James gets in touch with other printers in town and sees to it that Ben cannot get another job in Boston. Ben is on his own at age 17.
[Ben and John enter.]
John: What are you going to do? You can’t get a job in Boston.
Ben: So I’ll go somewhere else.
John: With what? You have no money.
Ben: I’ll sell my books.
John: I can sell them for you in my shop.
Ben: That should bring quite a bit of money.
John: I can get you into a ship to New York.
Ben: The only printer in New York is Mr. William Bradford.
[Ben and John exit.]
Narrator: Mr. Bradford has no work. But maybe his son in Philadelphia will. Ben boards a ship again. After three weeks, the boat lands on the New Jersey shore. Ben buys three loaves of bread. Now he is walking down Main Street eating. His pockets are stuffed with extra clothing.
[Ben and Debbie enter.]
Ben: [To himself] I must be a funny sight.
Debbie: [looks at Ben from head to toe and smiles] Good day, stranger.
Ben: What are you laughing at, miss?
Debbie: At a young man walking and eating in the street.
Ben: I’m hungry. And I’m not so young either. I’m 17. How old are you?
Debbie: I’m 17, too.
Ben: My name is Benjamin Franklin. What’s yours?
Debbie: Deborah Read.
Ben: Well, Miss Read, I hope you remember my name.
Debbie: Why?
Ben: Because you will be hearing it again.
[He smiles and exits.]
[Debbie smiles and exits.]
Narrator: And she will. In seven years she will be Mrs. Benjamin Franklin. The next day, Ben begins his job hunt.
[Mr. Bradford and Ben enter.]
Ben: Mr. Bradford, I’m Ben Franklin. Your father in New York told me that you might need some help.
Bradford: Ah, I don’t have enough work. But Mr. Keimer’s helper just died. Let’s go see him.
[Mr. Bradford and Ben exit.]
Narrator: Mr. Keimer’s printing press is very old and not working well. Ben fixes the press and is hired by Mr. Keimer who is very happy with Ben’s work.
Ben succeeds in Keimer’s shop, and Keimer pays Ben well. Soon, Ben is back in Boston for a visit.
[Ben, James and Josiah enter.]
Josiah: How fine you look, my son. That’s a handsome new suit!
Ben: [Pulling a watch from his pocket] And a fine new gold watch, too. [To James] I’d like to treat you and everyone on the paper to food and drink.
James: [Somewhat bitterly] The runaway succeeds–and comes home to show off!
Josiah: Enough, James. It’s time to forgive and forget. Welcome home, Ben.
[All exit.]
Narrator: Back in Philadelphia Ben soon goes into business for himself. He has his own newspaper, The Pennsylvania Gazette. Ben has also organized a club-Junto. The members meet regularly to talk about problems in the city.
[Bradford, Keimer and Ben enter.]
Narrator: Junto, with Ben’s leadership, works out many of the city’s problems–paving the streets, starting a fire department, a police force, a hospital.
Ben: While we’re waiting for the others, leet’s decide on our subjects for the evening.
Bradford: I thought we’d decided it would be books.
The problem is, there’s no place to get them.
Ben: There’s not one bookstore south of Boston. Not one.
Bradford: You have to send to England.
Ben: I have an idea. We could each bring our own books and collect money to buy more. We could start a common library. People could borrow books.
Bradford: We can build shelves here.
Have a reading table right here by the shelves.
But, what about people who don’t bring books back?
Ben: We’ll fine them twice the cost of the book and-
Bradford: Buy more books! You’re a genius, Ben!
[All exit.]
Narrator: And this is where public libraries in this country began.
[Ben and Debbie enter.]
Narrator: Ben comes in with a brand-new idea.
Ben: [Excitedly] We’re going to print a new book. It’s going to be called Poor Richard’s Almanac.
Debbie: What’s an almanac, Ben?
Ben: A kind of calendar-but more. It will tell what the weather will be like for a whole year.
Debbie: That would be good for farmers. How about recipes?
Ben: Recipes, yes. Cures of all kinds.
Debbie: Poems?
Ben: Certainly. And wise sayings and advice. “Early to bed. Early to rise. Makes a man healthy, wealthy and wise.”
Debbie: Ben, this is a wonderful idea! This will make you really famous.
[All exit.]
Narrator: Poor Richard’s Almanac is a tremendous success. Ben is able to give up printing for something that interests him more-experimenting with electricity.
[Debbie and Ben enter.]
Ben: Look, Debbie. Pretend this table is a house. The top is a roof, and the floor is the ground. Pretend there is a storm...lightning-
Debbie: [nervously] Lightning can set a house on fire!!
Ben: Exactly. My kite experiments proved that metal attracts lightning.
Debbie: Lucky those experiments didn’t kill you!
Ben: We attach a thin metal rod to the side of the house. It sticks up above the house for about six feet and runs down into the ground.
Debbie: So when lightning strikes, everyone inside is safe!
Ben: Look. I’ll show you the plans for making the rod.
[All exit.]
Narrator: And Ben is also getting more involved in relations between England and the colonies. Thomas Jefferson comes to speak with Ben.
[Debbie, Ben, and Thomas Jefferson enter.]
Debbie: Ben, someone is here to see you. Thomas Jefferson.
Thomas: I have come for your help. It’s time for us to break away from England. I’m going to write a Declaration of Independence, and I want you to help me.
Debbie: Does this mean war with England, Mr. Jefferson?
Thomas: England will never let us be free without a fight. We want Ben to ask the French to send us help in gaining our independence.
Ben: Thomas, why me?
Thomas: Ben, your ideas, the things you’ve started, the things you’ve invented-they are what this new country is all about. You make things happen!
Debbie: Oh, yes, Mr. Jefferson. Ben always makes things work.
Ben: Well, Mr. Jefferson, we have things to do.
[All exit.]
Narrator: Ben does help write the Declaration of Independence. And he does go to France. There he convinces the French king to help the new Americans fight for their freedom. To the end of his life, Ben never stops thinking and having ideas that work. And they are still working!
Wednesday, May 7, 2008
A Teacher's Testimonial after the Workshop
Before I put it off any longer, I wanted to give you an update on trying Readers' Theater in my 5th grade class. IT WORKED REALLY, REALLY WELL.
A few notes... Using stools and spinning around when they were not in the scene was a very nice touch. It was easy for a young audience to focus on the appropriate characters.
I had four ability groups working on the same play. The top group went first so that the others saw a good model. I was happy I made that choice.
My lowest group went today and did a terrific job. The extra few days of practice helped them. (I have one very low reader--has trouble reading even simple words like" could" and "these." He was amazing and very proud of himself.)
Thanks so much for the ideas.
I'm sending along a copy of the script. [SEE ABOVE.]
A few notes... Using stools and spinning around when they were not in the scene was a very nice touch. It was easy for a young audience to focus on the appropriate characters.
I had four ability groups working on the same play. The top group went first so that the others saw a good model. I was happy I made that choice.
My lowest group went today and did a terrific job. The extra few days of practice helped them. (I have one very low reader--has trouble reading even simple words like" could" and "these." He was amazing and very proud of himself.)
Thanks so much for the ideas.
I'm sending along a copy of the script. [SEE ABOVE.]
Tuesday, March 11, 2008
Readers' Theatre Script from Scientific Data
Reader One: Running Water
Reader Two: The source, or beginning, of a stream is in the hills. The clear water trickling out of the ground is joined by other streams and soon a small torrent is gushing down the valley.
Reader One: A “torrent” is fast moving water.
Reader Two: As it swirls around the boulders, its force carries smaller stones along with it.
Reader Three: Few plants can root or grow in the tugging water, but willow moss may coat some boulders.
Reader One: Willow moss is called an aquatic plant because “aquatic” means having to do with water.
Reader Two: A casual glance into the stream will detect no life, but closer examination will uncover animals who have learned to live with, or have adapted to, these conditions.
Reader One: In this sense, to adapt means that a species of plant or animal has changed from generation to generation over time in order to survive in this environment.
Reader Three: The stonefly nymphs can live in running water and feed on leaves and debris carried by the current. They in turn are food for the trout.
Reader One: A nymph is an immature form of an insect. It resembles the adult in basic form but undergoes some change as it develops. This is called incomplete metamorphosis.
Reader Two: Most animals living in these streams are flat so they can shelter under stones from the strong current.
Reader Three: If the flow is not too fast, little fish like the bullhead may make a home under the stones. Not many fish like strong flowing streams, but the trout with its streamlined, torpedo-shaped body, can swim against the current.
Reader Two: Other living things in the stream have suction pads to hold them to the rocks.
Reader Three: Caddisfly larvae glue their homes made of sand or plant debris to the rocks. Some do not build a case, but spin a net to catch food and to stop them from being washed away.
Reader One: Unlike the nymph, a larvae is very different from its adult form, so it goes through a complete metamorphosis.
Reader Three: A swift stream can also be home to the dipper, the only bird that can walk underwater. With its wings partly spread to hold it down, it searches the bottom for insects to eat.
Reader Two: No matter what environment you consider, it is teeming with a variety of life forms.
Staging: Reader One is the definer, Reader Two presents the concepts and Reader Three presents the plants and animals. Reader Two stands between One and Three. The Readers should make gestures that are representative of the movement of the stream and animals, but when Reader One reads, the other two readers should freeze. Illustrations could be used if large enough but not so large that they are distracting. Another possibility is putting the illustrations in a PowerPoint and project it above the readers.
Source Material Primarily: Stidworthy, John. Ponds and Streams. Nature Club Series. Mahwah, NJ: Troll Associates, 1990.
Reader Two: The source, or beginning, of a stream is in the hills. The clear water trickling out of the ground is joined by other streams and soon a small torrent is gushing down the valley.
Reader One: A “torrent” is fast moving water.
Reader Two: As it swirls around the boulders, its force carries smaller stones along with it.
Reader Three: Few plants can root or grow in the tugging water, but willow moss may coat some boulders.
Reader One: Willow moss is called an aquatic plant because “aquatic” means having to do with water.
Reader Two: A casual glance into the stream will detect no life, but closer examination will uncover animals who have learned to live with, or have adapted to, these conditions.
Reader One: In this sense, to adapt means that a species of plant or animal has changed from generation to generation over time in order to survive in this environment.
Reader Three: The stonefly nymphs can live in running water and feed on leaves and debris carried by the current. They in turn are food for the trout.
Reader One: A nymph is an immature form of an insect. It resembles the adult in basic form but undergoes some change as it develops. This is called incomplete metamorphosis.
Reader Two: Most animals living in these streams are flat so they can shelter under stones from the strong current.
Reader Three: If the flow is not too fast, little fish like the bullhead may make a home under the stones. Not many fish like strong flowing streams, but the trout with its streamlined, torpedo-shaped body, can swim against the current.
Reader Two: Other living things in the stream have suction pads to hold them to the rocks.
Reader Three: Caddisfly larvae glue their homes made of sand or plant debris to the rocks. Some do not build a case, but spin a net to catch food and to stop them from being washed away.
Reader One: Unlike the nymph, a larvae is very different from its adult form, so it goes through a complete metamorphosis.
Reader Three: A swift stream can also be home to the dipper, the only bird that can walk underwater. With its wings partly spread to hold it down, it searches the bottom for insects to eat.
Reader Two: No matter what environment you consider, it is teeming with a variety of life forms.
Staging: Reader One is the definer, Reader Two presents the concepts and Reader Three presents the plants and animals. Reader Two stands between One and Three. The Readers should make gestures that are representative of the movement of the stream and animals, but when Reader One reads, the other two readers should freeze. Illustrations could be used if large enough but not so large that they are distracting. Another possibility is putting the illustrations in a PowerPoint and project it above the readers.
Source Material Primarily: Stidworthy, John. Ponds and Streams. Nature Club Series. Mahwah, NJ: Troll Associates, 1990.
Readers' Theatre Script from Historical Data Part 1
Reader One: The Boston Ten Towns
Reader Two: The Revolutionary War is over.
Reader Three: The United States of American is an independent nation under the Articles of Confederation.
Reader Four: New Englanders look westward for new opportunities.
Reader One: Both Massachusetts and New York claimed the land which is today western New York. But these were lands still occupied by the Iroquois.
Reader Three: On December 16, 1786, commissioners representing each state met in Hartford, Connecticut.
Reader Two: The Commonwealth of Massachusetts was represented by John Lowell, James Sullivan, Theophilus Parsons and Rufus King.
Reader Four: Representing New York State were James Duane, Robert R. Livingston, Robert Yates, John Haring, Melancthon Smith and Egbert Benson.
Reader One: It was finally agreed that Massachusetts should relinquish to New York their sovereignty of the whole of the disputed territory, but in return receive the right of soil and preemptive right of Indian purchase west of a meridian passing through the eighty-second milestone of the Pennsylvania line, excepting certain reservations upon the Niagara River.
Reader Two: The title to the tract known as the "Boston Ten Towns," lying eastward of this meridian, previously granted to Massachusetts, was also confirmed.
Reader Three: This agreement is known as the Treaty of Hartford.
Reader One: Prior to agreement, a company of Boston investors
Reader Four: Originally 11, later expanding to 60
Reader One: was working to purchase a tract of this land.
Reader Two: They were incorporated as the Boston Purchase Company.
Reader Two: The Revolutionary War is over.
Reader Three: The United States of American is an independent nation under the Articles of Confederation.
Reader Four: New Englanders look westward for new opportunities.
Reader One: Both Massachusetts and New York claimed the land which is today western New York. But these were lands still occupied by the Iroquois.
Reader Three: On December 16, 1786, commissioners representing each state met in Hartford, Connecticut.
Reader Two: The Commonwealth of Massachusetts was represented by John Lowell, James Sullivan, Theophilus Parsons and Rufus King.
Reader Four: Representing New York State were James Duane, Robert R. Livingston, Robert Yates, John Haring, Melancthon Smith and Egbert Benson.
Reader One: It was finally agreed that Massachusetts should relinquish to New York their sovereignty of the whole of the disputed territory, but in return receive the right of soil and preemptive right of Indian purchase west of a meridian passing through the eighty-second milestone of the Pennsylvania line, excepting certain reservations upon the Niagara River.
Reader Two: The title to the tract known as the "Boston Ten Towns," lying eastward of this meridian, previously granted to Massachusetts, was also confirmed.
Reader Three: This agreement is known as the Treaty of Hartford.
Reader One: Prior to agreement, a company of Boston investors
Reader Four: Originally 11, later expanding to 60
Reader One: was working to purchase a tract of this land.
Reader Two: They were incorporated as the Boston Purchase Company.
Readers' Theatre Script from Historical Data Part 2
Reader Four: Moses Ashley
Stephen Brown
Simon Larnard
Josiah G. Pierson
Asa Bement
William Brown
Elizabeth Lusk
Joseph Pierson
Asa Bement, Jr., builder of the Bement-Billings Farmstead
John Chapman
Reader Three: The Boston Ten Townships
Reader One: as the tract of land would be known
Reader Three: comprised an area of 230,400 acres in what was then Tioga County, but now northern Tioga and Broome Counties, between the Chenango River and Tioughnioga River to the east and the west branch of Owego Creek to the west, from the Susquehanna River to about twenty-five miles northwards.
Reader Four: Ebenezer Mason
Nathan Pierson
Anna Bingham
Dudley Coleman
John Morell
David Pixley
Elkanah Bishop
Ashbel Cone
Stephen Nash
Joseph Raymond
Reader Two: It includes what is now the northern half of the town of Owego and the towns of Newark Valley, Berkshire, and Richford in Tioga County, and a portion of the Broome County Towns of Lisle, Nanticoke and Maine.
Reader One: One of the investors, Colonel Avid Pixley, came to the area to negotiate with the native inhabitants for the land rights. He learned the Indian language and greatly endeared himself to the Indians. Many of the investors actually settled in the area, and were soon able to extinguish the Indian claims by purchase from the Oneida.
Reader Four: Nathaniel Bishop
Ebenezer Cook
Allen Newhall
Abner Rockwell
Elisha Blin, who sold his lot to Elisha Wilson, first settler of Newark Valley
Phillip Cook
Warham Parks
Erastus Sergeant
Asahel Bradley
Ezekiel Crocker
Stephen Brown
Simon Larnard
Josiah G. Pierson
Asa Bement
William Brown
Elizabeth Lusk
Joseph Pierson
Asa Bement, Jr., builder of the Bement-Billings Farmstead
John Chapman
Reader Three: The Boston Ten Townships
Reader One: as the tract of land would be known
Reader Three: comprised an area of 230,400 acres in what was then Tioga County, but now northern Tioga and Broome Counties, between the Chenango River and Tioughnioga River to the east and the west branch of Owego Creek to the west, from the Susquehanna River to about twenty-five miles northwards.
Reader Four: Ebenezer Mason
Nathan Pierson
Anna Bingham
Dudley Coleman
John Morell
David Pixley
Elkanah Bishop
Ashbel Cone
Stephen Nash
Joseph Raymond
Reader Two: It includes what is now the northern half of the town of Owego and the towns of Newark Valley, Berkshire, and Richford in Tioga County, and a portion of the Broome County Towns of Lisle, Nanticoke and Maine.
Reader One: One of the investors, Colonel Avid Pixley, came to the area to negotiate with the native inhabitants for the land rights. He learned the Indian language and greatly endeared himself to the Indians. Many of the investors actually settled in the area, and were soon able to extinguish the Indian claims by purchase from the Oneida.
Reader Four: Nathaniel Bishop
Ebenezer Cook
Allen Newhall
Abner Rockwell
Elisha Blin, who sold his lot to Elisha Wilson, first settler of Newark Valley
Phillip Cook
Warham Parks
Erastus Sergeant
Asahel Bradley
Ezekiel Crocker
Readers' Theatre Script from Historical Data Part 3
Reader Three: One half-township of Owego
Reader Two: including the village
Reader Three: had already been acquired from the Oneida by James McMaster. Some delicate negotiations led to his claim being recognized as the McMaster Patent.
Reader Four: Elihu Parsons
Ira Seymour
Elisha Bradley
Elnathan Curtis
Eliphalet Parsons, a settler of Lisle
Orringh Stoddard
Josiah Bradley
Isaac Curtis
Jacob Parsons
Ashbel Strong
Reader One: Three of the original eleven soon came to this part of the county to “view the land.” These men were Amos Patterson, his brother-in-law, Colonel Avid Pixley and Captain Joseph Raymond.
Reader Two: The tract of land was divided into lots, each of the sixty proprietors taking his share of lots according to the amount of money he had invested.
Reader Four: Beulah Patterson Brown, one of the founders of the Congregational Church of Newark Valley
Henry Williams Dwight
Oliver Partridge, Jr.
Thaddeus Thompson
Elijah Brown
Azariah Egleston
Amos Patterson
Caleb Walker
John Brown
Jonathan Edwards, uncle to Aaron Burr
Silas Pepoon
Reader Three: On the original map
Reader One: now property of Library of Cornell University
Reader Three: each lot was marked on inch wide by two and one-half inches long.
The first settlers set out from Stockbridge, Massachusetts, on February 23, 1791, arriving in what is now Berkshire on April 1.
Reader Four: William Walker
Samuel Brown, head proprietor and Uncle to Abraham and Isaac Brown, first settlers of Berkshire
Jonathan Ingersol
Benjamin Pierson
Ebenezer Williams
Samuel Brown, Jr.
Isaac Jenks, whose descendents settled Jenksville
Jeremiah H. Pierson
Jonathan Woodbridge
Reader Two: including the village
Reader Three: had already been acquired from the Oneida by James McMaster. Some delicate negotiations led to his claim being recognized as the McMaster Patent.
Reader Four: Elihu Parsons
Ira Seymour
Elisha Bradley
Elnathan Curtis
Eliphalet Parsons, a settler of Lisle
Orringh Stoddard
Josiah Bradley
Isaac Curtis
Jacob Parsons
Ashbel Strong
Reader One: Three of the original eleven soon came to this part of the county to “view the land.” These men were Amos Patterson, his brother-in-law, Colonel Avid Pixley and Captain Joseph Raymond.
Reader Two: The tract of land was divided into lots, each of the sixty proprietors taking his share of lots according to the amount of money he had invested.
Reader Four: Beulah Patterson Brown, one of the founders of the Congregational Church of Newark Valley
Henry Williams Dwight
Oliver Partridge, Jr.
Thaddeus Thompson
Elijah Brown
Azariah Egleston
Amos Patterson
Caleb Walker
John Brown
Jonathan Edwards, uncle to Aaron Burr
Silas Pepoon
Reader Three: On the original map
Reader One: now property of Library of Cornell University
Reader Three: each lot was marked on inch wide by two and one-half inches long.
The first settlers set out from Stockbridge, Massachusetts, on February 23, 1791, arriving in what is now Berkshire on April 1.
Reader Four: William Walker
Samuel Brown, head proprietor and Uncle to Abraham and Isaac Brown, first settlers of Berkshire
Jonathan Ingersol
Benjamin Pierson
Ebenezer Williams
Samuel Brown, Jr.
Isaac Jenks, whose descendents settled Jenksville
Jeremiah H. Pierson
Jonathan Woodbridge
Readers' Theatre Script: The Critics
Reader One: The Critics
Reader Two: A Fable by Ambrose Bierce
Reader Three: While bathing, Antinous
Reader Four: was seen by Minerva, who was so enamoured of
Reader Three: his beauty
Reader Four: that, all armed as she happened to be, she descended from Olympus to woo him; but, unluckily displaying her shield, with the head of Medusa on it, she had the unhappiness to see
Reader Three: the beautiful mortal turn to stone from catching a glimpse of it.
Reader Four: She straightway ascended to ask Jove to restore him; but before this could be done
Reader One: a Sculptor
Reader Two: and a Critic
Reader One and Two: passed that way and espied him.
Reader One: "This is a very bad Apollo," said the Sculptor: "the chest is too narrow, and one arm is at least a half-inch shorter than the other. The attitude is unnatural, and I may say impossible. Ah! my friend, you should see my statue of Antinous."
Reader Two: "In my judgment, the figure," said the Critic, "is tolerably good, though rather Etrurian, but the expression of the face is decidedly Tuscan, and therefore false to nature. By the way, have you read my work on 'The Fallaciousness of the Aspectual in Art'?"
Source: http://www.aesopfables.com/ This is a wonderful source of material for creating your own scripts.
Reader Two: A Fable by Ambrose Bierce
Reader Three: While bathing, Antinous
Reader Four: was seen by Minerva, who was so enamoured of
Reader Three: his beauty
Reader Four: that, all armed as she happened to be, she descended from Olympus to woo him; but, unluckily displaying her shield, with the head of Medusa on it, she had the unhappiness to see
Reader Three: the beautiful mortal turn to stone from catching a glimpse of it.
Reader Four: She straightway ascended to ask Jove to restore him; but before this could be done
Reader One: a Sculptor
Reader Two: and a Critic
Reader One and Two: passed that way and espied him.
Reader One: "This is a very bad Apollo," said the Sculptor: "the chest is too narrow, and one arm is at least a half-inch shorter than the other. The attitude is unnatural, and I may say impossible. Ah! my friend, you should see my statue of Antinous."
Reader Two: "In my judgment, the figure," said the Critic, "is tolerably good, though rather Etrurian, but the expression of the face is decidedly Tuscan, and therefore false to nature. By the way, have you read my work on 'The Fallaciousness of the Aspectual in Art'?"
Source: http://www.aesopfables.com/ This is a wonderful source of material for creating your own scripts.
Readers' Theatre Script: Who Is Silvia?
Reader One: Who Is Silvia?
Reader Two: By William Shakespeare, from The Two Gentlemen of Verona
Reader One: Who is Silvia?
Reader Two: What is she,
Readers One & Two: That all our swains commend her?
Reader One: Holy,
Reader Two: fair,
Reader One: and wise is she;
Reader Two: The heaven such grace did lend her,
Reader One: That she might admired be.
Reader Two: Is she kind as she is fair?
Reader One: For beauty lives with kindness.
Reader Two: Love doth to her eyes repair/ To help him of his blindness,
Reader One: And, being helped, inhabits there.
Readers One & Two: Then to Silvia let us sing
Reader Two: That Silvia is excelling;
Reader One: She excels each mortal thing/ Upon the dull earth dwelling,
Readers One & Two: To her let us garlands bring.
Source: The Norton Anthology of Poetry. New York: W. W. Norton & Company, Inc., 1970.
Reader Two: By William Shakespeare, from The Two Gentlemen of Verona
Reader One: Who is Silvia?
Reader Two: What is she,
Readers One & Two: That all our swains commend her?
Reader One: Holy,
Reader Two: fair,
Reader One: and wise is she;
Reader Two: The heaven such grace did lend her,
Reader One: That she might admired be.
Reader Two: Is she kind as she is fair?
Reader One: For beauty lives with kindness.
Reader Two: Love doth to her eyes repair/ To help him of his blindness,
Reader One: And, being helped, inhabits there.
Readers One & Two: Then to Silvia let us sing
Reader Two: That Silvia is excelling;
Reader One: She excels each mortal thing/ Upon the dull earth dwelling,
Readers One & Two: To her let us garlands bring.
Source: The Norton Anthology of Poetry. New York: W. W. Norton & Company, Inc., 1970.
Readers' Theatre Script: Rumble in the Jungle
Reader One: Rumble in the Jungle
Reader Two: By Giles Andreae
Reader Three: There’s a rumble in the jungle,
Reader Four: There’s a whisper in the trees,
All Readers: The animals are waking up/And rustling the leaves.
Reader One: The hippo’s at the water hole,
Reader Two: The leopard’s in his lair,
Reader Three: The chimpanzees are chattering/And swinging
All Readers: everywhere.
Reader Two: Some animals are frightening,
Reader Three: And some are sweet and kind,
Reader Four: So let’s go to the jungle now
Reader One: And see who we can find . . .
Reader Three: It’s great to be a chimpanzee/Swinging through the trees,/And if we can’t find nuts to eat/We munch each other’s flea!
Reader Four: The boa constrictor’s a slippery snake/Who squashes then swallows his prey./He knows that it’s not very friendly or kind,/But they do taste much nicer that way.
Reader One: Hello, I’m a big happy hippo,/I sleep in the sun till I’m hot,/And when I’m not sleeping/I mooch in the mud,/Which hippos like doing a lot.
Reader Two: If you meet a hungry leopard/Prowling through the night,/Make sure you call him
Readers One, Three & Four: sir/And be incredibly polite.
Reader One: The night has started falling
Reader Three: But the jungle never sleeps,
Reader Four: The vultures circle slowly
Reader Two: While the leopard softly creeps.
Reader One: And if you listen quietly/You might just hear the growl/Of a hungry pair of panthers/Who are still out on the prowl.
Readers One & Two: The lions
Readers Three & Four: and their little cubs
All Readers: Are sleeping in the den,
Reader Three: So let’s leave them till tomorrow
All Readers: When we’ll visit them again.
Adapted from Andreae, Giles. Rumble in the Jungle. New York: Scholastic Inc., 1996.
Reader Two: By Giles Andreae
Reader Three: There’s a rumble in the jungle,
Reader Four: There’s a whisper in the trees,
All Readers: The animals are waking up/And rustling the leaves.
Reader One: The hippo’s at the water hole,
Reader Two: The leopard’s in his lair,
Reader Three: The chimpanzees are chattering/And swinging
All Readers: everywhere.
Reader Two: Some animals are frightening,
Reader Three: And some are sweet and kind,
Reader Four: So let’s go to the jungle now
Reader One: And see who we can find . . .
Reader Three: It’s great to be a chimpanzee/Swinging through the trees,/And if we can’t find nuts to eat/We munch each other’s flea!
Reader Four: The boa constrictor’s a slippery snake/Who squashes then swallows his prey./He knows that it’s not very friendly or kind,/But they do taste much nicer that way.
Reader One: Hello, I’m a big happy hippo,/I sleep in the sun till I’m hot,/And when I’m not sleeping/I mooch in the mud,/Which hippos like doing a lot.
Reader Two: If you meet a hungry leopard/Prowling through the night,/Make sure you call him
Readers One, Three & Four: sir/And be incredibly polite.
Reader One: The night has started falling
Reader Three: But the jungle never sleeps,
Reader Four: The vultures circle slowly
Reader Two: While the leopard softly creeps.
Reader One: And if you listen quietly/You might just hear the growl/Of a hungry pair of panthers/Who are still out on the prowl.
Readers One & Two: The lions
Readers Three & Four: and their little cubs
All Readers: Are sleeping in the den,
Reader Three: So let’s leave them till tomorrow
All Readers: When we’ll visit them again.
Adapted from Andreae, Giles. Rumble in the Jungle. New York: Scholastic Inc., 1996.
Readers' Theatre Script: One Fish Two Fish Red Fish Blue Fish
Reader One: One Fish Two Fish Red Fish Blue Fish
Reader Two: By Dr. Seuss
Reader Three: From there
Reader Four: to here,
Reader One: From here
Reader Two: to there
All Readers: Funny things are everywhere
Reader One: One fish
Reader Two: Two fish
Reader Three: Red fish
Reader Four: Blue fish.
Reader One: Black fish blue fish
Reader Two: Old fish new fish.
Reader Three: This one has a little star.
Reader Four: This one has a little car.
All Readers: Say! What a lot of fish there are.
Reader One: Yes. Some are red.
Reader Two: And some are blue.
Reader Three: Some are old.
Reader Four: And some are new.
Reader Two: Some are sad.
Reader Four: And some are glad.
Reader Three: And some are very, very bad.
Reader One: Why are they sad and glad and bad?
Reader Two: I do not know.
Reader Three and Four: Go ask your dad.
Reader Two: Some are thin.
Reader Four: And some are fat.
Reader Three: The fat one has a yellow hat.
Reader Four: From there
Reader Three: to here,
Reader One: From here
Reader Two: to there
All Readers: Funny things are everywhere
Adapted from Dr. Suess. One Fish Two Fish Red Fish Blue Fish. New York: Random House, Inc., 1960.
Reader Two: By Dr. Seuss
Reader Three: From there
Reader Four: to here,
Reader One: From here
Reader Two: to there
All Readers: Funny things are everywhere
Reader One: One fish
Reader Two: Two fish
Reader Three: Red fish
Reader Four: Blue fish.
Reader One: Black fish blue fish
Reader Two: Old fish new fish.
Reader Three: This one has a little star.
Reader Four: This one has a little car.
All Readers: Say! What a lot of fish there are.
Reader One: Yes. Some are red.
Reader Two: And some are blue.
Reader Three: Some are old.
Reader Four: And some are new.
Reader Two: Some are sad.
Reader Four: And some are glad.
Reader Three: And some are very, very bad.
Reader One: Why are they sad and glad and bad?
Reader Two: I do not know.
Reader Three and Four: Go ask your dad.
Reader Two: Some are thin.
Reader Four: And some are fat.
Reader Three: The fat one has a yellow hat.
Reader Four: From there
Reader Three: to here,
Reader One: From here
Reader Two: to there
All Readers: Funny things are everywhere
Adapted from Dr. Suess. One Fish Two Fish Red Fish Blue Fish. New York: Random House, Inc., 1960.
Monday, March 10, 2008
NYS Learning Standards Addressed by RT
Besides the NYS learning standards listed below, Readers’ Theatre is an instructional tool which satisfies the learning standards of any curricular area where students benefit from preparing and participating in an interactive method of presenting content information.
English Language Arts
Standard 1: Language for Information and Understanding
Standard 2: Language for Literary Response and Expression
Standard 3: Language for Critical Analysis and Evaluation
Standard 4: Language for Social Interaction
Mathematics, Science, and Technology
Standard 1: Analysis, Inquiry, and Design
Standard 2: Information Systems
Standard 5: Technology
Standard 7: Interdisciplinary Problem Solving
The Arts
Standard 1: Creating, Performing, and Participating in the Arts
Standard 2: Knowing and Using Arts Materials and Resources
Standard 3: Responding to and Analyzing Works of Art
Health, Physical Education, and Family and Consumer Sciences
Standard 3: Resource Management
Career Development and Occupational Studies
Standard 2: Integrated Learning
English Language Arts
Standard 1: Language for Information and Understanding
Standard 2: Language for Literary Response and Expression
Standard 3: Language for Critical Analysis and Evaluation
Standard 4: Language for Social Interaction
Mathematics, Science, and Technology
Standard 1: Analysis, Inquiry, and Design
Standard 2: Information Systems
Standard 5: Technology
Standard 7: Interdisciplinary Problem Solving
The Arts
Standard 1: Creating, Performing, and Participating in the Arts
Standard 2: Knowing and Using Arts Materials and Resources
Standard 3: Responding to and Analyzing Works of Art
Health, Physical Education, and Family and Consumer Sciences
Standard 3: Resource Management
Career Development and Occupational Studies
Standard 2: Integrated Learning
Oral Interpretation
Oral Interpretation is a dramatic reading involving a single performer. It differs from Readers’ Theatre in that there is generally no staging, with the possible exception of special lighting.
A Brief History of Readers' Theatre
Though the origin of Readers’ Theatre may be traced back to Greece 2,500 years ago and also found in medieval times, they more recently have evolved from group readings in the early nineteenth century. The earliest use of the term Reader’s Theatre dates back to 1945 when a professional group in New York who called themselves Readers Theatre, Inc., produced Oedipus Rex. Their stated purpose was “to give the people of New York an opportunity to witness performances of great dramatic works which were seldom if ever produced.”
In 1951, a production of Don Juan in Hell, originally written by George Bernard Shaw, was performed using four well-known actors. The performers sat on stools and appeared to read from scripts placed on lecterns, but it was obvious they had memorized the material.
In 1952 Stephen Vincent Benét’s long narrative poem John Brown’s Body, adapted and directed by Charles Laughton, was presented by three readers and a chorus of twenty. Unlike the actors in Don Juan in Hell, who read the part of many different characters, these three actors each represented a single character. Critics and audience members recounted how each was able to come away with his/her own vision of the narrative because the staging left so much up to the imagination.
It should be noted that radio plays are, of course, a form of Readers’ Theatre. The actors perform using scripts. There is no “staging” in this case. This form of drama began in the twenties and reached its peak in the forties.
The first musical to be done professionally in Readers’ Theatre style was You’re a Good Man, Charlie Brown, opening March 7, 1967. Generally the term “Readers’ Theatre style” refers to productions where the staging and movement is minimal and representative, while the scripts (either present or absent) are memorized.
During the sixties, Readers’ Theatre became popular within college theatre departments and from there spread into secondary English education. These graduates would bring the practice into their high school English classroom. But more recently, educators have discovered, what I call, the literacy factor, and so Readers’ Theatre has moved into middle and elementary schools.
Adapted from Coger, Leslie Irene and Melvin R. White. Readers Theatre Handbook, a Dramatic Approach to Literature. Revised Ed. Glenview, IL: Scott, Foresman and Co., 1973.
In 1951, a production of Don Juan in Hell, originally written by George Bernard Shaw, was performed using four well-known actors. The performers sat on stools and appeared to read from scripts placed on lecterns, but it was obvious they had memorized the material.
In 1952 Stephen Vincent Benét’s long narrative poem John Brown’s Body, adapted and directed by Charles Laughton, was presented by three readers and a chorus of twenty. Unlike the actors in Don Juan in Hell, who read the part of many different characters, these three actors each represented a single character. Critics and audience members recounted how each was able to come away with his/her own vision of the narrative because the staging left so much up to the imagination.
It should be noted that radio plays are, of course, a form of Readers’ Theatre. The actors perform using scripts. There is no “staging” in this case. This form of drama began in the twenties and reached its peak in the forties.
The first musical to be done professionally in Readers’ Theatre style was You’re a Good Man, Charlie Brown, opening March 7, 1967. Generally the term “Readers’ Theatre style” refers to productions where the staging and movement is minimal and representative, while the scripts (either present or absent) are memorized.
During the sixties, Readers’ Theatre became popular within college theatre departments and from there spread into secondary English education. These graduates would bring the practice into their high school English classroom. But more recently, educators have discovered, what I call, the literacy factor, and so Readers’ Theatre has moved into middle and elementary schools.
Adapted from Coger, Leslie Irene and Melvin R. White. Readers Theatre Handbook, a Dramatic Approach to Literature. Revised Ed. Glenview, IL: Scott, Foresman and Co., 1973.
Scripting
When you or your students are creating themselves, the number of readers is of prime consideration. Some times it is determined by the size of a preexisting group. This tends to lend an artificial element to the production but is often unavoidable in classroom situations. Balance and student ability is also a major consideration within the classroom. Because these presentations are often being assessed, fairness dictates this. The material, however, often make this rather difficult, and you may want to devise other way to give each student a fair opportunity to perform.
With narratives involving characters, each reader could represent a difference character, or group of characters, i.e., the townspeople, or audience, or relatives. The reader should read what the character says, thinks and DOES.
If possible, especially if you want your students to think “out of the box,” avoid including a narrator. Have the reader or readers, i.e., a choral reading, most closely related to the descriptive passages read them. Choral reading is difficult, so do not overdo it.
With non-narrative texts or narratives without clearly defined characters, think in terms of concepts. It could be divided by main idea (one reader)/supporting details (other readers) or the division could have to do with geography or time. Even a first person text could be divided: outward statements or actions vs. inner thoughts and feelings.
Feel free to edit the original text.
With narratives involving characters, each reader could represent a difference character, or group of characters, i.e., the townspeople, or audience, or relatives. The reader should read what the character says, thinks and DOES.
If possible, especially if you want your students to think “out of the box,” avoid including a narrator. Have the reader or readers, i.e., a choral reading, most closely related to the descriptive passages read them. Choral reading is difficult, so do not overdo it.
With non-narrative texts or narratives without clearly defined characters, think in terms of concepts. It could be divided by main idea (one reader)/supporting details (other readers) or the division could have to do with geography or time. Even a first person text could be divided: outward statements or actions vs. inner thoughts and feelings.
Feel free to edit the original text.
Methodology
It is essential that students plan carefully and rehearse sufficiently.
Direct cast members to speak directly to the audience, not to each other. (There may be some special times when you will break this rule and ask characters on stage to look at and react to each other). Generally, however, cast members will focus upon the audience just as a storyteller focuses upon the listeners. This engages the audience and helps them identify with the characters.
It may be appropriate for readers who are not reading at the moment, however, to focus on the person reading.
During rehearsals, encourage students to explore each character part in as much depth as time allows. Emphasizing eye contact, diction, character development, controlled movement or mime, and performance energy will help achieve a well-paced, well-rehearsed performance.
To lessen self-consciousness, it is sometimes helpful for cast members to focus eyes slightly above the heads of audience members.
Encourage the use of appropriate vocal and volume changes, facial expressions, posture, and varying tempo patterns.
Staging “rules” are just guidelines. When students ask to include costumes and props, firmly suggest that they be symbolic and minimal. Encourage creative thinking rather than elaborate productions. The idea is to spark the imagination of the audience through verbal expression rather than visual stimulation. But if you would rather fight other battles, focus on the literacy benefits and/or the presentation of important content material.
Platforms, chairs, stools, and such are useful to suggest environment and/or relationships. Thoughtful consideration should also be given to the arrangement of the readers.
Movement should also be minimal and often symbolic. In most cases, the performers position themselves in one place and stay there. Leaving a “scene” may be suggested by turning so the performer’s back is to the audience or by sitting down. Walking can be done in place. Hand gestures and facial expression, however, are encouraged.
Encourage students to find out what unfamiliar words mean. It is up to you how they do it, but the fastest method might be best because your primary goal should be help the student add those words to his/her vocabulary, and using them in a Readers’ Theatre production will accomplish this. You or other classmates might be a better resource than a dictionary so that the student, especially those who have reading difficulties, is not discouraged.
For shorter scripts (four pages or less), mount them on card stock for handling ease. For longer scripts, binders are recommended. Even music stands can be used for older student who would not be blocked by them. Music stands have the advantage of freeing both hands. Every student should have his/her own script. Strongly recommend that each reader highlight his/her own lines.
Direct cast members to speak directly to the audience, not to each other. (There may be some special times when you will break this rule and ask characters on stage to look at and react to each other). Generally, however, cast members will focus upon the audience just as a storyteller focuses upon the listeners. This engages the audience and helps them identify with the characters.
It may be appropriate for readers who are not reading at the moment, however, to focus on the person reading.
During rehearsals, encourage students to explore each character part in as much depth as time allows. Emphasizing eye contact, diction, character development, controlled movement or mime, and performance energy will help achieve a well-paced, well-rehearsed performance.
To lessen self-consciousness, it is sometimes helpful for cast members to focus eyes slightly above the heads of audience members.
Encourage the use of appropriate vocal and volume changes, facial expressions, posture, and varying tempo patterns.
Staging “rules” are just guidelines. When students ask to include costumes and props, firmly suggest that they be symbolic and minimal. Encourage creative thinking rather than elaborate productions. The idea is to spark the imagination of the audience through verbal expression rather than visual stimulation. But if you would rather fight other battles, focus on the literacy benefits and/or the presentation of important content material.
Platforms, chairs, stools, and such are useful to suggest environment and/or relationships. Thoughtful consideration should also be given to the arrangement of the readers.
Movement should also be minimal and often symbolic. In most cases, the performers position themselves in one place and stay there. Leaving a “scene” may be suggested by turning so the performer’s back is to the audience or by sitting down. Walking can be done in place. Hand gestures and facial expression, however, are encouraged.
Encourage students to find out what unfamiliar words mean. It is up to you how they do it, but the fastest method might be best because your primary goal should be help the student add those words to his/her vocabulary, and using them in a Readers’ Theatre production will accomplish this. You or other classmates might be a better resource than a dictionary so that the student, especially those who have reading difficulties, is not discouraged.
For shorter scripts (four pages or less), mount them on card stock for handling ease. For longer scripts, binders are recommended. Even music stands can be used for older student who would not be blocked by them. Music stands have the advantage of freeing both hands. Every student should have his/her own script. Strongly recommend that each reader highlight his/her own lines.
Benefits
Communication: Readers’ Theatre develops both verbal and nonverbal communication skills, along with encouraging active listening.
Collaboration: Readers’ Theatre helps students develop their ability to work cooperatively while responding to a given task. It provides opportunities for students to predict, plan, organize information, and solve logistical and aesthetic problems collectively.
Experiential Learning: Readers’ Theatre provides active instructional opportunities suitable for all students with different levels of ability. It stimulates interdisciplinary learning in a variety of subject areas, such as social studies, language arts, mathematics, science, home and careers, and business.
Multiple Intelligences: Readers’ Theatre simultaneously addresses all aspects of learning: interpersonal, intrapersonal, cognitive, emotional, kinesthetic, ethical, and social.
Character Development: Readers’ Theatre develops trust, patience, perseverance, and strong interpersonal relationships.
Process to Product: Reader’s Theatre involves both the learning process and its product, as students work individually and collaboratively when making choices about how to structure their ideas in a form appropriate for performance and within the confines of this particular dramatic form.
Creativity: Readers’ Theatre encourages students to use their imagination through either planned or spontaneous dramatic action where unique and individual responses are highly valued.
Aesthetics: Readers’ Theatre is an art form where students develop an awareness of beauty and a heightened perception of the world around them.
Community: Readers’ Theatre helps bridge diverse cultural and socioeconomic backgrounds, allowing students to consider different values and responses.
Self-awareness: Readers’ Theatre helps students understand themselves and others. It allows them to explore a variety of social roles, encouraging them to identify and empathize with others.
Adapted from Theatre, a Resource Guide for Standard-Based Instruction
Collaboration: Readers’ Theatre helps students develop their ability to work cooperatively while responding to a given task. It provides opportunities for students to predict, plan, organize information, and solve logistical and aesthetic problems collectively.
Experiential Learning: Readers’ Theatre provides active instructional opportunities suitable for all students with different levels of ability. It stimulates interdisciplinary learning in a variety of subject areas, such as social studies, language arts, mathematics, science, home and careers, and business.
Multiple Intelligences: Readers’ Theatre simultaneously addresses all aspects of learning: interpersonal, intrapersonal, cognitive, emotional, kinesthetic, ethical, and social.
Character Development: Readers’ Theatre develops trust, patience, perseverance, and strong interpersonal relationships.
Process to Product: Reader’s Theatre involves both the learning process and its product, as students work individually and collaboratively when making choices about how to structure their ideas in a form appropriate for performance and within the confines of this particular dramatic form.
Creativity: Readers’ Theatre encourages students to use their imagination through either planned or spontaneous dramatic action where unique and individual responses are highly valued.
Aesthetics: Readers’ Theatre is an art form where students develop an awareness of beauty and a heightened perception of the world around them.
Community: Readers’ Theatre helps bridge diverse cultural and socioeconomic backgrounds, allowing students to consider different values and responses.
Self-awareness: Readers’ Theatre helps students understand themselves and others. It allows them to explore a variety of social roles, encouraging them to identify and empathize with others.
Adapted from Theatre, a Resource Guide for Standard-Based Instruction
Essential Questions
For Understanding
• How should I say this word, phrase and/or sentence?
• How does the character feel at this point and how should I convey that emotion?
• What information should be included and/or excluded?
• In what order should this material be arranged?
For Analysis
• What is the overall message I/we wish to convey to the audience?
• How will I/we best convey that message?
For the Interpersonal
• How will this information be understood by others?
• How will I/we capture and maintain the audience’s attention?
• How will I/we present myself/ourselves to be taken seriously by the audience?
• What must I do to be a full cooperating member of the group?
For the Imagination
• What creative elements can I/we include in our production?
• What will we do to encourage the audience to use its imagination?
• How should I say this word, phrase and/or sentence?
• How does the character feel at this point and how should I convey that emotion?
• What information should be included and/or excluded?
• In what order should this material be arranged?
For Analysis
• What is the overall message I/we wish to convey to the audience?
• How will I/we best convey that message?
For the Interpersonal
• How will this information be understood by others?
• How will I/we capture and maintain the audience’s attention?
• How will I/we present myself/ourselves to be taken seriously by the audience?
• What must I do to be a full cooperating member of the group?
For the Imagination
• What creative elements can I/we include in our production?
• What will we do to encourage the audience to use its imagination?
Essential Skills
• Literacy
Practicing reading fluency
Interpreting text for comprehension
• Communications
Writing for information and understanding
Expressing text verbally to disseminate information
• Presentation
Staging for understanding and entertainment
• Cooperative Social Interaction
Working together for decision-making
Working together for information gathering
Working together for division of labor
Working to balance fairness among participants with aesthetic considerations
• Aesthetics
Using symbolism to present information and concepts
Using other creative means to present information and concepts
Using limited resources to maximum effect
• Evaluation
Deciding what information to include and/or exclude
Deciding in what order to present particular information
Practicing reading fluency
Interpreting text for comprehension
• Communications
Writing for information and understanding
Expressing text verbally to disseminate information
• Presentation
Staging for understanding and entertainment
• Cooperative Social Interaction
Working together for decision-making
Working together for information gathering
Working together for division of labor
Working to balance fairness among participants with aesthetic considerations
• Aesthetics
Using symbolism to present information and concepts
Using other creative means to present information and concepts
Using limited resources to maximum effect
• Evaluation
Deciding what information to include and/or exclude
Deciding in what order to present particular information
For Presentation
Too often when students are asked to do group presentations, especially in disciplines that do not readily lend themselves to narrative, these presentations are deadly for the remaining students in the class. With Readers’ Theatre, students can present the same information in a creative and entertaining fashion. The quality of the information will be better as well because it will be scripted.
For Literacy
Through the reading for fluency during rehearsal of a Readers’ Theatre script and its classroom presentation, students improve their literacy skills. Two testimonials on Literacy Connections (http://literacyconnections.com/ReadersTheater.php ), offer the following insight: Readers’ Theatre “provides repeated reading practice—an important factor in building fluency. Repeated reading practice also improves students’ confidence in, and enthusiasm for reading. It’s an enjoyable change of pace from everyday practice sessions. My students love it! And so do I. Students are so thrilled at their newfound skill that they ask to perform for younger classes” and “It’s a wonderful opportunity for children who are used to feelings of failure to provide expertise entertainment for others.” Also, if the script contains vocabulary that challenges the student in any way, that vocabulary soon becomes the student’s own though the rehearsal process.
Subscribe to:
Posts (Atom)