Friday, December 11, 2009
Thursday, December 10, 2009
Sixth Grade Fine Arts Final Exam Study Guide
The exam is divided into four parts, one per Fine Arts subject area. Here's what you should know for each part.
In this section, you'll be asked to list some terms and examples of how you would use them in your writing. You'll also write some poetry.
Know the different types of figurative language and how to use each one. These include: alliteration, onomanopoeia, simile, metaphor, hyperbole, and personification.
Know the rhythm and rhyme schemes of haiku (17 total syllables, 5/7/5, no rhyme) and limericks (AABBA rhyme scheme). Know what a rhyming couplet is and how to write one. Know what a stanza is.
Think back on the different activities we did during the music unit. We watched some video from the documentary "Music From the Inside Out;" took a listening walk around the school; listened to, discussed, wrote about, and made music maps charting different selections of recorded music; clapped and made rhythmic noises together, created our own rhythms and instruments, and learned about graphic scores. Know your vocabulary from this unit:
tempo, rhythm, pitch, dynamics, tone, composer, musician, graphic score, orchestral instruments, music map
III. Visual Art
This section is mostly performance tasks - things you already know how to do, for which you will need to remember proper vocabulary. You will most likely spend the greatest amount of time on this section, since you will be asked to do some drawing. You should know:
Color wheel: primary, secondary, and tertiary/intermediate colors.
What is value, and what techniques can you use to create it?
Know your line and shape types! Organic, geometric, regular, irregular, broken, thick, thin, angular, wavy, etc.
Know line directions: vertical, horizontal, diagonal
We've done two types of drawing from life: contour and gesture. Know the difference.
You'll need to remember a lot of vocabulary for this section. It's all words that we used all the time in drama. You will be asked to fill in the blanks of a story about directing a play with the appropriate words, and occasionally to write short answers responding to questions about the story.
Vocabulary: pantomime, actor neutral, improvisation, projection, diction, ensemble, pace, props, stage directions, monologue, dialogue.
Review terms from the Greek Tragedy unit as well. Know the parts of a Greek theatre (orchestra, parodos, theatron, skene) as well as the parts of a Greek tragedy (prologue, parodos, episode, stasimon, exodos). Review your notes on the essential elements of Greek tragedy, including late pont of attack, tragic hero, tragic flaw, chorus, masks, etc. I know you know this!
Wednesday, December 9, 2009
Monday, December 7, 2009
Homework: On the sheet with the skeleton, use a colored pencil to mark head lengths down the length of the skeleton.
Classwork today: Students received their group and individual grades for the Greek tragedy project.
We looked at and discussed a slide presentation on Greek black figure and red figure pottery, examining artworks that depicted the Labors of Heracles. Many students pointed out the similarities they saw between Greek and Egyptian art: feet pointing in one direction while the torso faces forward, faces seen in profile with one eye visible. One big difference is that the Greeks used overlapping to show depth.
Some sections had time after the presentation to make some gesture drawings using willow charcoal on newsprint. Thanks to the student "models"! You did a good job of holding still.
Tuesday, December 1, 2009
Monday, November 30, 2009
tragedy in the afternoon
Sixth grade dramatists present their original greek-style plays
Wednesday, December 2: 6a and 6b
thursday, december 3: 6c and 6d
located in the Annex
(across from the main entrance of north campus)
Showtime: 4 p.m. both days
call time for actors is 3:30
all family members and CPa students are invited to attend. please show up promptly no later than 3:55 to see the performances. all 6th grade students are required to attend. please make arrangements for pick up at 5 p.m.
All sections: Dress rehearsals! Here is the performance order for Ms. Blumenfeld's classes.
6A: Oz, 3 Little Pigs, Hansel & Gretel, Boy Who Cried Wolf
6B: Pandora, Goldilocks, Pigs/LRRH, Oz
6D: Peter Pan, 3 Little Pigs, Deinara, Rumpelstiltskin
Tuesday, November 24, 2009
- a speech talking about something in the play (choose an audience)
- a news report
- a one sided telephone conversation
Monday, November 23, 2009
Thursday, November 19, 2009
Wednesday, November 18, 2009
Tuesday, November 17, 2009
Homework: Tomorrow is the deadline for being off book. Over half the actors already have their lines memorized - way to go!
Monday, November 16, 2009
Friday, November 13, 2009
- turning backs to the audience
- speaking too fast or too slow (pace)
- speaking unclearly (diction)
- speaking too loud or too soft (projection/volume)
- standing in front of other actors so they can't be seen (levels/sightlines)
- expression and characterization
Thursday, November 12, 2009
Thursday, November 5, 2009
Wednesday, November 4, 2009
Tuesday, November 3, 2009
Monday, November 2, 2009
Friday, October 30, 2009
Today was an early release day. Students worked in their groups on finishing outlines and character sheets, then started designing their masks.
Thursday, October 29, 2009
Wednesday, October 28, 2009
Tuesday, October 27, 2009
-Has tragic flaw, usu. hubris: Overbearing pride or presumption; arrogance
-Goes from high to low
-Is an important person
Characteristics of Greek drama:
-Uses story that will be familiar to audience
-Late point of attack - point in story after the characters and setting are established, but a little while before the climax
-Violence takes place offstage
-Messengers used to tell characters about offstage action
-catharsis: emotional purgation that returns balance (Oedipus is banished and Thebes is restored)
-arouses pity and fear in audience
Actors: all men, usu. 3 actors who played multiple parts, masks
Chorus: comments on play, dialogue w/actors, sings and dances
Prologue - one or two characters give mythological background of play
Parodos - chorus enters - they are the "moral voice" of the play
Episode - action with characters, dialogue, monologue
Stasimon - chorus summarizes previous episode in verse
Exodos - end of play; chorus gives speech, "moral of the story"
- 3 male actors represented all characters, using masks
- chorus of 12, some could act as incidental, non-speaking characters (like Oedipus' daughters Antigone and Ismene)
Sophocles (born 495 BC, died 405 BC)
- only 7 out of his 120 plays remain
-1st playwright to add third actor
-1st playwright to write tragedies that stand on their own, not as part of a trilogy
Origins of Greek Drama
-late 7th century BC, first plays called "tragedoi," sung by groups of men dressed as satyrs
-6th century BC, Pisistratus creates Dionysia, a 3-day state religious festival in Athens
-Thespis was a famous actor and the first playwright, winning the Dionysia in 536-533
Monday, October 26, 2009
Friday, October 23, 2009
Thursday, October 22, 2009
Wednesday, October 21, 2009
Tuesday, October 20, 2009
give and receive focus
show, don't tell - use concrete sensory details
character: appearance, movement, voice, decisions
objects: look, find, manipulate, release
setting: locate landmarks and maintain
story: cause and effect sequence - have a reason
communicate with audience by communicating with each other
Monday, October 19, 2009
Welcome back! I hope everyone had a great break.
Today in class, students took turns reading from the Labors of Heracles. The spelling of "Heracles," is more true to the original Greek pronunciation, even though we're more familiar with the Roman "Hercules." The stories of Heracles' adventures are very similar in both Greek and Roman retellings, with some variations, as you'll see.
Tomorrow we will act out each labor dramatically - directors were assigned for each. The directors' job will be to carefully read over their Labor, decide how many actors they'll need to represent Heracles, monsters, caves, other heroes, etc., and tell their actors what to do as the Narrator tells the story.
The Labors of Heracles
When he had come of age and already proved himself an unerring marksman with a bow and arrow, a champion wrestler and the possessor of superhuman strength, Heracles was driven mad by Hera. In a frenzy, he killed his own children. To atone for this crime, he was sentenced to perform a series of tasks, or "Labors", for his cousin Eurystheus, the king of Tiryns and Mycenae. By rights, Heracles should have been king himself, but Hera had tricked her husband Zeus into crowning Eurystheus instead.
Labor One: The Nemean Lion
As his first Labor, Heracles was challenged to kill the Nemean lion. This was no easy feat, for the beast's parentage was supernatural and it was more of a monster than an ordinary lion. Its skin could not be penetrated by spears or arrows. Heracles blocked off the entrances to the lion's cave, crawled into the close confines where it would have to fight face to face and throttled it to death with his bare hands. Ever afterwards he wore the lion's skin as a cloak and its gaping jaws as a helmet.
Labor Two: The Hydra
King Eurystheus was so afraid of his heroic cousin that when he saw him coming with the Nemean lion on his shoulder, he hid in a storage jar. From this shelter he issued the order for the next Labor. Heracles was to seek out and destroy the monstrous and many-headed Hydra. The mythmakers agree that the Hydra lived in the swamps of Lerna, but they seem to have had trouble counting its heads. Some said that the Hydra had eight or nine, while others claimed as many as ten thousand. All agreed, however, that as soon as one head was beaten down or chopped off, two more grew in its place.
To make matters worse, the Hydra's very breath was lethal. Even smelling its footprints was enough to kill an ordinary mortal. Fortunately, Heracles was no ordinary mortal. He sought out the monster in its lair and brought it out into the open with flaming arrows. But now the fight went in the Hydra's favor. It twined its many heads around the hero and tried to trip him up. It called on an ally, a huge crab that also lived in the swamp. The crab bit Heracles in the heel and further impeded his attack. Heracles was on the verge of failure when he remembered his nephew, Iolaus, the son of his twin brother Iphicles.
Iolaus, who had driven Heracles to Lerna in a chariot, looked on in anxiety as his uncle became entangled in the Hydra's snaky heads. Finally he could bear it no longer. In response to his uncle's shouts, he grabbed a burning torch and dashed into the fray. Now, as soon as Heracles cut off one of the Hydra's heads, Iolaus was there to sear the wounded neck with flame. This kept further heads from sprouting. Heracles cut off the heads one by one, with Iolaus cauterizing the wounds. Finally Heracles lopped off the one head that was supposedly immortal and buried it deep beneath a rock.
Labor Three: the Cerynitian Hind
The third Labor was the capture of the Cerynitian hind. Though a female deer, this fleet-footed beast had golden horns. It was sacred to Artemis, goddess of the hunt, so Heracles dared not wound it. He hunted it for an entire year before running it down on the banks of the River Ladon in Arcadia. Taking careful aim with his bow, he fired an arrow between the tendons and bones of the two forelegs, pinning it down without drawing blood. All the same, Artemis was displeased, but Heracles dodged her wrath by blaming his taskmaster Eurystheus.
Labor Four: the Erymanthian Boar
The fourth Labor took Heracles back to Arcadia in quest of an enormous boar, which he was challenged to bring back alive. While tracking it down he stopped to visit the centaur Pholus. This creature -- half-horse, half-man -- was examining one of the hero's arrows when he accidentally dropped it on his foot. Because it had been soaked in poisonous Hydra venom, Pholus succumbed immediately. Heracles finally located the boar on Mount Erymanthus and managed to drive it into a snowbank, immobilizing it. Flinging it up onto his shoulder, he carried it back to Eurystheus, who cowered as usual in his storage jar.
Labor Five: The Augean Stables
Eurystheus was very pleased with himself for dreaming up the next Labor, which he was sure would humiliate his heroic cousin. Heracles was to clean out the stables of King Augeas in a single day. Augeas possessed vast herds of cattle which had deposited their manure in such quantity over the years that a thick aroma hung over the entire Peloponnesus. Instead of employing a shovel and a basket as Eurystheus imagined, Heracles diverted two rivers through the stableyard and got the job done without getting dirty. But because he had demanded payment of Augeas, Eurystheus refused to count this as a Labor.
Labor Six: The Stymphalian Birds
The sixth Labor pitted Heracles against the Stymphalian birds, who inhabited a marsh near Lake Stymphalus in Arcadia. The sources differ as to whether these birds feasted on human flesh, killed men by shooting them with feathers of brass or merely constituted a nuisance because of their number. Heracles could not approach the birds to fight them - the ground was too swampy to bear his weight and too mucky to wade through. Finally he resorted to some castanets given to him by the goddess Athena. By making a racket with these, he caused the birds to take wing. And once they were in the air, he brought them down by the dozens with his arrows.
Labor Seven: the Cretan Bull
Queen Pasiphae of Crete had been inspired by a vengeful god to fall in love with a bull, with the result that the Minotaur was born -- a monster half-man and half-bull that haunted the Labyrinth of King Minos. Pasiphae's husband was understandably eager to be rid of the bull, which was also ravaging the Cretan countryside, so Hercules was assigned the task as his seventh Labor. Although the beast belched flames, the hero overpowered it and shipped it back to the mainland. It ended up near Athens, where it became the duty of another hero, Theseus, to deal with it once more.
Labor Eight: the Mares of Diomedes
Next Heracles was instructed to bring Eurystheus the mares of Diomedes. These horses dined on the flesh of travelers who made the mistake of accepting Diomedes' hospitality. In one version of the myth, Heracles pacified the beasts by feeding them their own master. In another, they satisfied their appetites on the hero's squire, a young man named Abderus. In any case, Heracles soon rounded them up and herded them down to sea, where he embarked them for Tiryns. Once he had shown them to Eurystheus, he released them. They were eventually eaten by wild animals on Mount Olympus.
Labor Nine: Hippolyte's Belt
The ninth Labor took Heracles to the land of the Amazons, to retrieve the belt of their queen for Eurystheus' daughter. The Amazons were a race of warrior women, great archers who had invented the art of fighting from horseback. Heracles recruited a number of heroes to accompany him on this expedition, among them Theseus. As it turned out, the Amazon queen, Hippolyte, willingly gave Hercules her belt, but Hera was not about to let the hero get off so easily. The goddess stirred up the Amazons with a rumor that the Greeks had captured their queen, and a great battle ensued. Heracles made off with the belt, and Theseus kidnapped an Amazon princess.
Labor Ten: the Cattle of Geryon
In creating monsters and formidable foes, the Greek mythmakers used a simple technique of multiplication. Thus Geryon, the owner of some famous cattle that Heracles was now instructed to steal, had three heads and/or three separate bodies from the waist down. His watchdog, Orthrus, had only two heads. This Labor took place somewhere in the country we know as Spain. The hound Orthrus rushed at Heracles as he was making off with the cattle, and the hero killed him with a single blow from the wooden club which he customarily carried. Geryon was dispatched as well, and Heracles drove the herd back to Greece, taking a wrong turn along the way and passing through Italy.
Labor Eleven: the Apples of the Hesperides
The Hesperides were nymphs entrusted by the goddess Hera with certain apples which she had received as a wedding present. These were kept in a grove surrounded by a high wall and guarded by Ladon, a many-headed dragon. The grove was located in the far-western mountains named for Atlas, one of the Titans or first generation of gods. Atlas had sided with one of his brothers in a war against Zeus. In punishment, he was compelled to support the weight of the heavens by means of a pillar on his shoulders. Heracles, in quest of the apples, had been told that he would never get the them without the aid of Atlas.
The Titan was only too happy to oblige. He told the hero to hold the pillar while he went to retrieve the fruit. But first Heracles had to kill the dragon by means of an arrow over the garden wall. Atlas soon returned with the apples but now realized how nice it was not to have to strain for eternity keeping heaven and earth apart. Heracles wondered if Atlas would mind taking back the pillar just long enough for him to fetch a cushion for his shoulder. The Titan obliged and Heracles strolled off, neglecting to return.
Labor Twelve: the Capture of Cerberus
As his final Labor, Heracles was instructed to bring the hellhound Cerberus up from Hades, the kingdom of the dead. The first barrier to the soul's journey beyond the grave was the most famous river of the Underworld, the Styx. Here the newly dead congregated as insubstantial shades, mere wraiths of their former selves, awaiting passage in the ferryboat of Charon the Boatman. Charon wouldn't take anyone across unless they met two conditions. Firstly, they had to pay a bribe in the form of a coin under the corpse's tongue. And secondly, they had to be dead. Heracles met neither condition, a circumstance which aggravated Charon's natural grouchiness.
But Heracles simply glowered so fiercely that Charon meekly conveyed him across the Styx. The greater challenge was Cerberus, who had razor teeth, three (or maybe fifty) heads, a venomous snake for a tail and another swarm of snakes growing out of his back. These lashed at Heracles while Cerberus lunged for a purchase on his throat. Fortunately, the hero was wearing his trusty lion's skin, which was impenetrable by anything short of a thunderbolt from Zeus. Heracles eventually choked Cerberus into submission and dragged him to Tiryns, where he received due credit for this final Labor.
Heracles had a great many other adventures, in after years as well as in between his Labors. It was poisonous Hydra venom that eventually brought about his demise. He had allowed a centaur to ferry his wife Deianara across a river, and the centaur had attacked her on the other side. Heracles killed him with an arrow, but before he died he told Deinara to keep some of his blood for a love potion. Deinara used some on Heracles' tunic to keep him faithful, little realizing that it had been poisoned with Hydra venom from the arrow. Heracles donned the tunic and died in agony.
Heracles was the only hero to become a full-fledged god upon his demise, but even in his case there was his mortal aspect to be dealt with. By virtue of his spectacular achievements, even by heroic standards, he was given a home on Mount Olympus and a goddess for a wife. But part of him had come not from his father Zeus but from his mortal mother Alcmene, and that part was sent to the Underworld. As a phantasm it eternally roams the Elysian Fields in the company of other heroes.
Friday, October 9, 2009
Introduction to Poetry
I ask them to take a poem
and hold it up to the light
like a color slide
or press an ear against its hive.
I say drop a mouse into a poem
and watch him probe his way out,
or walk inside the poem's room
and feel the walls for a light switch.
I want them to waterski
across the surface of a poem
waving at the author's name on the shore.
But all they want to do
is tie the poem to a chair with rope
and torture a confession out of it.
They begin beating it with a hose
to find out what it really means.
1. Finish revising your concrete poem and copy onto a clean sheet of paper.
2. Finish poetry unit evaluation form and hand in at my desk.
3. Use writing prompts to get ideas. Write quietly on your own until everyone is finished.
4. Last 15 minutes of class: read concrete poems aloud. Hand in.
Homework: None! Enjoy your fall break.
Thursday, October 8, 2009
Wednesday, October 7, 2009
Tuesday, October 6, 2009
- Cliches: search and destroy! Replace overused, tired or common phrases with fresh new ones
- Accidental repetition: find and rephrase. Pretty often, poetry students will get caught up just getting words on the page and they'll end up repeating words or phrases that, while accurate, could be expressed more vividly. Repetition that you use on purpose to emphasize an idea is okay. Good repetition: "Oh captain, my captain!" Dull repetition: "The wind blows in my face. My hair was blown back by the wind. The wind blew."
- Abstract words and phrases: figure out if you can express that idea more precisely and beautifully by using a concrete description. "Fun" is abstract. "the electricity that shoots up my spine at the very top of the roller coaster" is concrete. Abstract words are often too general to express exactly what you mean, so get specific. Show, don't tell!
- Awkward rhyme: trash it. If trying to fit a rhyme scheme made you choose a word you don't really mean, get rid of it.
Monday, October 5, 2009
The images used by Basho in capturing the moment of truth were most often visual, as in the haiku about the frog, or the equally famous:
kareeda ni On the withered branch
karasu no tomarikeri A crow has alighted -----
This verse presents so sharp an image that it has often been painted. But Basho did not rely exclusively on visual images; the moment might equally well be perceived by one of other senses:
shizukasa ya Such stillness -----
iwa ni shimiiru The cries of the cicadas
semi no koe Sink into the rocks.
And sometimes the senses were mingled in a surprising modern way:
umi kurete The sea darkens,
kamo no koe The cries of the seagulls
honoka ni shirosi Are faintly white.