Central Office Literacy In-service
8:30 – 11:30
11/6/2012
Kenneth Koch
1. Active Reading Poker
a. Introduce Concept – Packet of information for Literacy
b. Pass out Cards
i. Cut out Cards
ii. Discuss what cards mean while passing them out
1. (Prediction, Educated Guess)
c. Pass out text
i. Read first chunk of text
ii. Model and walk through first game play
iii. Practice on second chunk of text
iv. Discuss how game play facilitates discussion and comprehension
v. Final round of Poker
d. Have participants discuss how this could be used with different types of text.
2. Tea Party
a. First decide 3what phrases, sentences or single words you want to place on index cards from a selected text (About half as many phrases as students). Choose phrases that give insight into the characters, setting and conflict as well as some phrases that can be interpreted multiple ways.
b. Example from “Sarah’s Journal (Middle), One Night in Bangkok (High)
c. Use exact wording from the text
d. Students move from student to student to share their cards and discuss how it may relate to the story
i. To increase the performance aspect, have students interact with one another in the style of the production you are working on or the text you are reading – performance skills
e. Students return to a small group (groups of 5) and discuss their predictions about the text.
f. Students record their prediction with a “We Think” statement. (We think the selection is about).
g. Have students share to the class their “We Think” statement and ask them to explain how they came up with their predictions/inferences.
h. Red the selection. (Revisit predictions after reading.
3. Anticipation Guide
a. Discuss purpose
b. Example: The Lottery by Brainard Duffield (Adapted from a story by Shirley Jackson
c. Go Through Anticipation Guide. Do a quick read of the first few pages
d. Revisit Anticipation Guide
4. Choice Boards
a. Differentiation
i. Equalizing the field
ii. Rigor – Debbie Schultz
iii. But what is rigor?
Let’s start with what it is not. Rigor is not fifty math problems for homework when fewer will achieve mastery. Rigor is not more worksheets for the student who finished the assignment early. Rigor is not using a seventh grade text book with your high performing sixth grade students. Rigor is not covering more material in a shorter period of time. Rigor is not cold or impersonal. And most of all, rigor is not just for a select group of students.
So, what is rigor? The most concise definition of rigor I’ve encountered is taken from Teaching What Matters Most: Standards and Strategies for Raising Student Achievement by Richard W. Strong, Harvey F. Silver and Matthew J. Perini, ASCD, 2001. According to Strong, Silver, and Perini, “Rigor is the goal of helping students develop the capacity to understand content that is complex, ambiguous, provocative, and personally or emotionally challenging.”
b. Used them? How? What topics – How should they be designed?
5. Adaptations
a. Allow students to complete any 3 tasks--even if the completed tasks don't make a Tic-Tac-Toe.
b. Create assignments in rows and columns based on readiness.
c. Create a final optional section that requires students the opportunity for enrichment. The optional section often reflects activities that students can use for extra credit
d. Have pairs of students create one choice for the board (giving them specific guidelines)
6. Semantic Differential Scales (Movement Based)
a. Used like 4 Corners - 1 corner of your room for each of the following: Strongly Disagree, Disagree, Agree, Strongly Agree – (Where’s neither?)
b. Example: Beauty and the Beast
7. Likert Scales (Movement Based)
a. To determine character traits and relationships within scripts
b. Example: Little Shop of Horrors
8. R.A.F.T. Assignments
a. Examples
b. Each group will choose a play and come up with three examples of RAFT assignments that can be used.
c. Share and Discuss other uses for RA.F.T. Assignments
9. Retell Strategies
a. Read a passage (paragraph, monologue, soliloquy)
b. Have students retell the passage from a different character’s perspective
c. Example Death of a Salesman
d. Small Groups (4) One member perform the monologue (read)
i. Each group member should retell the monologue from the perspective of another character as assigned
10. Somebody Wanted But So (SWBS)
a. An Actor’s Nightmare (Characters)
b. George - A man who finds himself backstage under mysterious circumstances. He appears to be an accountant and seems to be the understudy of a man named Edwin, although he can't actually remember attending any rehearsals or being a part of the production. In Private Lives he plays Elyot. In Hamlet he plays Prince Hamlet. In Checkmate he plays Willie (who seems to be based on Nagg in Endgame). In A Man for All Seasons he plays Sir Thomas Moore.
c. Meg - The stage manager. A capable worker. When it becomes apparent that George does not know many of his lines, she pretends to be a maid in the production and whispers some to him. In the scene from A Man for all Seasons, she plays the part of Sir Thomas Moore's daughter and during the execution she bids him goodbye as "George".
d. Sarah - A grand actress. In Private Lives, she plays Amanda. In Hamlet, she plays Queen Gertrude. In A Man for all Seasons, she plays Sir Thomas Moore's wife (she also quotes Hamlet in that scene, when trying to convince George to accept the execution and bids him goodbye as "Hamlet). Name
e. Ellen - Another actress, but not as grand as Sarah. For some reason, she calls George "Stanley" before the production. In Private Lives she plays Sybil. In Checkmate, her character is unnamed, but she appears to be a cross between Winnie (from Happy Days) and Nell (from Endgame). She remains in this character throughout the A Man for all Seasons scene and bids George goodbye as "Willie".
f. Henry - A grand actor. In Hamlet, he plays the part of Horatio. According to the script, Henry is also able to play the part of the executioner. If this is the case, he bids George goodbye as "Sir Thomas".
11. Synopsis
- A man finds himself inexplicably backstage one day. When he is confronted by the stage manager, Meg, it becomes apparent that he is the understudy for an actor named Edwin (Edwin Booth) and as "Eddie" apparently broke both his legs, the man must perform in his stead. The man is referred to as "George" throughout the play, despite him feeling that it is not his real name (another actress refers to him as Stanley at one point as well) and cannot remember attending any rehearsals or being an actor at all (he instead believes that he is an accountant). To make matters worse, he is unable to get a straight answer as to what the play is. An actress named Sarah tells him that it is a Noël Coward play (Private Lives) and the other actress Ellen tells him that it is a Samuel Beckett play called Checkmate (which seems to have elements of the plays Endgame, Happy Days, and Waiting for Godot). Literally forced on stage, George attempts to improvise his lines; however, the play inconsistently shifts between scenes from Private Lives, Hamlet, Checkmate, and A Man for All Seasons. When forced to improvise a soliloquy in the Hamlet scene, George tells the audience that he was raised in a Catholic school and was interested in joining a monastery but they told him to wait until he was older. When he was older, however, he lost faith (as he put it "I don't know many Catholic adults"). In the final part of the play (A Man for all Seasons), George is alarmed to learn that he is to play the part of Sir Thomas More - and the execution seems a bit too real for his liking. While attempting to convince himself that he is merely in a dream, George ends up theorizing that one can't dream of his own death and therefore he will wake up just before he is beheaded. He accepts the execution, but appears to really be dead during curtain call, much to the cast's confusion.
Othello – William Shakespeare Act , Scene II (262-376)
OTHELLO
Behold, I have a weapon;
A better never did itself sustain
Upon a soldier's thigh: I have seen the day,
That, with this little arm and this good sword,
I have made my way through more impediments
Than twenty times your stop: but, O vain boast!
Who can control his fate? 'tis not so now.
Be not afraid, though you do see me weapon'd;
Here is my journey's end, here is my butt,
And very sea-mark of my utmost sail.
Do you go back dismay'd? 'tis a lost fear;
Man but a rush against Othello's breast,
And he retires. Where should Othello go?
Now, how dost thou look now? O ill-starr'd wench!
Pale as thy smock! when we shall meet at compt,
This look of thine will hurl my soul from heaven,
And fiends will snatch at it. Cold, cold, my girl!
Even like thy chastity. O cursed slave!
Whip me, ye devils,
From the possession of this heavenly sight!
Blow me about in winds! roast me in sulphur!
Wash me in steep-down gulfs of liquid fire!
O Desdemona! Desdemona! dead!
Oh! Oh! Oh!
Enter LODOVICO. MONTANO, CASSIO carried in a chair, and Officers with IAGO, prisoner
LODOVICO
Where is this rash and most unfortunate man?
OTHELLO
That's he that was Othello: here I am.
LODOVICO
Where is that viper? bring the villain forth.
OTHELLO
I look down towards his feet; but that's a fable.
If that thou best a devil, I cannot kill thee.
Wounds IAGO
LODOVICO
Wrench his sword from him.
IAGO
I bleed, sir; but not kill'd.
OTHELLO
I am not sorry neither: I'ld have thee live;
For, in my sense, 'tis happiness to die.
LODOVICO
O thou Othello, thou wert once so good,
Fall'n in the practise of a damned slave,
What shall be said to thee?
OTHELLO
Why, any thing:
An honourable murderer, if you will;
For nought I did in hate, but all in honour.
LODOVICO
This wretch hath part confess'd his villany:
Did you and he consent in Cassio's death?
OTHELLO
Ay.
CASSIO
Dear general, I never gave you cause.
OTHELLO
I do believe it, and I ask your pardon.
Will you, I pray, demand that demi-devil
Why he hath thus ensnared my soul and body?
IAGO
Demand me nothing: what you know, you know:
From this time forth I never will speak word.
LODOVICO
What, not to pray?
GRATIANO
Torments will ope your lips.
OTHELLO
Well, thou dost best.
LODOVICO
Sir, you shall understand what hath befall'n,
Which, as I think, you know not. Here is a letter
Found in the pocket of the slain Roderigo;
And here another: the one of them imports
The death of Cassio to be undertook
By Roderigo.
OTHELLO
O villain!
CASSIO
Most heathenish and most gross!
LODOVICO
Now here's another discontented paper,
Found in his pocket too; and this, it seems,
Roderigo meant to have sent this damned villain;
But that belike Iago in the interim
Came in and satisfied him.
OTHELLO
O the pernicious caitiff!
How came you, Cassio, by that handkerchief
That was my wife's?
CASSIO
I found it in my chamber:
And he himself confess'd but even now
That there he dropp'd it for a special purpose
Which wrought to his desire.
OTHELLO
O fool! fool! fool!
CASSIO
There is besides in Roderigo's letter,
How he upbraids Iago, that he made him
Brave me upon the watch; whereon it came
That I was cast: and even but now he spake,
After long seeming dead, Iago hurt him,
Iago set him on.
LODOVICO
You must forsake this room, and go with us:
Your power and your command is taken off,
And Cassio rules in Cyprus. For this slave,
If there be any cunning cruelty
That can torment him much and hold him long,
It shall be his. You shall close prisoner rest,
Till that the nature of your fault be known
To the Venetian state. Come, bring him away.
OTHELLO
Soft you; a word or two before you go.
I have done the state some service, and they know't.
No more of that. I pray you, in your letters,
When you shall these unlucky deeds relate,
Speak of me as I am; nothing extenuate,
Nor set down aught in malice: then must you speak
Of one that loved not wisely but too well;
Of one not easily jealous, but being wrought
Perplex'd in the extreme; of one whose hand,
Like the base Indian, threw a pearl away
Richer than all his tribe; of one whose subdued eyes,
Albeit unused to the melting mood,
Drop tears as fast as the Arabian trees
Their medicinal gum. Set you down this;
And say besides, that in Aleppo once,
Where a malignant and a turban'd Turk
Beat a Venetian and traduced the state,
I took by the throat the circumcised dog,
And smote him, thus.
Stabs himself
LODOVICO
O bloody period!
GRATIANO
All that's spoke is marr'd.
OTHELLO
I kiss'd thee ere I kill'd thee: no way but this;
Killing myself, to die upon a kiss.
Falls on the bed, and dies