To wrap up our unit of work on Commedia Dell’Arte, I have designed a summative assessment task to assess Criteria B and C of the MYP Arts Assessment Criteria
. We have already introduced Commedia Dell’Arte and researched its elements (to assess Criterion A)
, we have explored status relationships and their importance in Commedia Dell’Arte
, and also had a look at the stock characters, lazzi, the use of masks and physicality in acting
The end-of-unit assessment task is planned to run over three weeks, and is a task where the students build a portfolio (using their iPads) to demonstrate evidence of every stage of the drama process: planning, preparation, rehearsal, performance, and ongoing reflection and evaluation (the acronym I use is PPRPORE). The first four stages (PPRP = planning + preparation + rehearsal + performance) are used to assess Criterion B (Application of ideas, conventions, skills, techniques and processes), while the last stage (ORE = ongoing reflection and evaluation), which is actually intertwined with all the other stages, is used to assess Criterion C (Reflection and Evaluation). Here are the task sheets given to the students: Criterion B task sheet and Criterion C task sheet.
During the first week of the task, the students move into groups of four or five (one writer + one director + 2-3 actors) and have to demonstrate evidence of planning and preparation. To help the students, or give them some sort of structure, I gave them this ‘Story Map‘ graphic organizer, and I hung up a list of lazzi scenarios and a poster showing brief descriptions of ten of the main stock characters in Commedia Dell’Arte. The students were obviously given the opportunity to demonstrate evidence of planning in other formats they may prefer such as a mind-map or a bullet-point brainstorm, and were also given room to create their own lazzi to incorporate them into their performance. All group members, regardless of their roles, are asked to keep the same evidence of planning in their portfolio.
Once the planning phase is finished, the group members are then assigned a different task based on their roles in the group: actors have to start their character analysis based on the stock character they’re playing and using this ‘Character Map‘, while the writers start turning their planned performance into a written script. Once the script is finished, the directors and their teams cooperate to storyboard the performance and block it using this handout: Storyboard and Set/Blocking. The actors are instructed to keep evidence of their character analysis in their portfolios, the writers are instructed to keep their scripts as their evidence of preparation, while the directors are told to keep evidence of their storyboarding and blocking. This concludes the preparation phase, and is often finished by the end of the first week.
The second week of the task kicks off the third stage of the drama process: rehearsal. The students are spread around the room, and some groups are given space outside in the courtyard. The groups are then asked to rehearse and document their rehearsals using photos and videos, and also using this ‘Rehearsal Log‘, which achieves both documenting rehearsals and reflecting on them at the same time. I also often give the directors certain rehearsal strategies that they can use to help with different aspects of their direction: such as getting the actors to rehearse the scene as a ‘silent movie’ if they want to bring out more expressive body language and facial expressions from the actors, or rehearse the scene in ‘fast-forward’ if they just want the actors to focus on the blocking and movement in the scene etc… Rehearsals are often very fun, and I enjoy circulating around the groups and jotting down some anecdotal records to help me with my final assessment. Sometimes, I also use checklists of observed behaviors to guide my observations.
The third and final week of this task involves the actors performing the scenes in front of the class, while the writers and directors take video footage of the performance and photos to add to their portfolios. After every scene is performed, the audience are asked to give feedback to the group members (positive comments or useful suggestions only!). After all performances are finished the groups are then instructed to spread around the room and watch their performances on their iPads (to help with their reflection), then write their four-sentence reflection, written self-evaluation and use the self-assessment checklist and rubric to reflect on and evaluate their performance (using this Criterion C task sheet).
All students are then given some time to collect all the evidence in their portfolios (using Evernote notebooks on their iPads). After the portfolios are finalized, I call each student up to my desk, give them a few minutes to demonstrate their portfolio to me. I then ask them to refer to the Criterion B task sheet, and use the checklist in the task sheet to self-assess the whole process, give themselves a mark out of ten in the student-self-assessment column of the rubric, and then justify that mark to me in a few sentences. To conclude the conference with the student, I then assign them my mark for each criterion and give them some oral feedback.
I believe it is a rather big end-of-unit assessment task, and may be quite overwhelming for some students. However, I do try my best to offer sufficient scaffolding through every stage, which is why I give so many handouts. Additionally, while it is a group-task, each student is assessed individually. To help me with this individual assessment, and to encourage ongoing reflection and evaluation, I give all group members a copy of this Group-work Log at the beginning of the task, where they record their progress and concerns at the end of every stage of the process.
Overall, I think it is a carefully designed assessment task that engages the students in all stages of the drama process, and allows them to demonstrate evidence of their skills, techniques, processes, reflection and evaluation.