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CICLO 02/2010

CICLO 02/2010.

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CICLO 02/2010

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  1. CICLO 02/2010

  2. Licenciatura 02/2010Inicio de clases 23 de agostoFin de clases 11 de diciembreDías no laborables:16 de septiembre02 y 15 de noviembreVacaciones de invierno 20 de diciembre 2010 al 02 de enero 2011Periodo de exámenes1er. Parcial 11 al 16 de octubreRetroalimentación 25 al 30 de octubre2do. Parcial 06 al 11 de diciembreRetroalimentación 06 al 11 de diciembre

  3. FORMA DE EVALUAR

  4. FORMA DE EVALUAR TOUCHSTONE

  5. FALTAS TEORÍA: 2 FALTAS POR PERIODO LABORATORIO: 1 FALTA POR PERIODO EXÁMENES • Dejar sus cosas al frente. • A su lugar solo podrán llevar lápiz, pluma, goma y corrector. • Dejar sus celulares y reproductores al frente y apagados. • El maestro asignará los lugares.

  6. CLASES 7:00 AM 15 min. VESPERTINAS 10 min. LABORATORIO 5 min. TOLERANCIA

  7. RETROALIMENTACIÓN Es obligación del alumno asistir a la retroalimentación, de no hacerlo no podrá pedir ningún cambio en su calificación.

  8. Introduction A play is a story that is written to be acted on a stage or in a theater.

  9. TASK - Invite your teachers, family and friends to enjoy the best plays.

  10. Process Formteamstowriteyourplays. Write a playwright per team. (Considerthatallthemembers of yourgroup, notonlytheonesonyourteam, musthave a role) Choosethebestplayfromthegroup. Auditionforthedifferent roles of theplay and assignthem. Prepare your scenery, costumes, make up, sound effects and special effects.

  11. Process 6. Presentyourplaytoteachers and peersonOctober 8th. (Theywillchoosethebestplay per level) LI-III from 7:00 AM to 9:30 PM LIV and V from 8:00 PM to 10:00 PM 7. Improvethebestplay of yourleveltowinthe PLAY´S CONTEST tobeheldfrom 8:00 PM to 10:PM on: November 26th LI-III December3rd LIV and V 8. Advertiseit and invite yourteachers, family and friendstowatchit.

  12. Gettingstarted -START SMALL! Don't try to write the next Angels in America or Rent for your first play. A big problem for many writers is starting a play and not finishing it. The bestway to begin is with a ten-minute play, which, at a page per minute, is ten pages long.

  13. Play structure It's got a beginning, middle and an end, only everything happens more quickly. A beginning introduces the characters, the conflict, the stakes and a ticking clock. The middle builds the conflict and develops the characters as they change tactics. In the end, they either get it or they don't.

  14. Where do I start? Where do ideas come from? Anywhere. Everywhere. Still stumped? Here are just a few possibilities: A line of dialogue. A title. A character, either fictitious or based on someone you met or observed or read about. A historical event. A setting. A theme/issue. Anything observed. An object. A photograph or an image. The newspaper. Your own life. Anything you care about.

  15. Findan idea! Take this germ of an idea and ask yourself "what if?" What if there's a homeless teenager? What if he's looking for someone? What if he's looking for his mother? This is the first step toward creating the world of your play. Now what? Who lives in this world? It's time to build some characters.

  16. BUILDING CHARACTERS You can't have a play without characters. You can put talking (or non-talking) dogs or rocks on stage, but guess what: they're still characters. That means you have to figure out who they are.

  17. BUILDING CHARACTERS Divide a character's attributes into three categories: physical, social and emotional.

  18. BUILDING CHARACTERS Physical includes things like height, weight, skin color, muscularity, etc. Social is education, class, job, hobbies, history, family, living situation, religion—all the things that have to do with a person and his place in society.

  19. BUILDING CHARACTERS Psychological includes mental health, disposition, intelligence —all the things that come from the mind. Be as exhaustive as you can in creating the character to create a detailed person.

  20. SETTING Now that you've created all these really great characters, you have to put them somewhere. Not all settings are created equal. The setting that works best for your play is the one that allows you to create the most conflict and tension when you put your characters in it. For example, an escaped prisoner hiding in a police station is a lot more exciting than one in a remote forest.

  21. SETTING Improve your play with a scenery, costumes, make up, prompts, special effects, sound effects, etc…

  22. EVALUATION P1: Play presentation with teachers and peers. (Read the Play´s Rubric) P2: Play presentation with teachers, family and friends. (Read the Play´s Rubric) The day of the presentation with teachers, family and friends, people will vote for the best play they´ve seen and the winners will receive one extra point.

  23. RESOURCES http://playscontest.wikispaces.com/ http://www.fictionteachers.com/classroomtheater/theater.html http://bms.westport.k12.ct.us/mccormick/rt/RTHOME.htm http://pbskids.org/zoom/activities/playhouse/index.html http://www.freedrama.net/short.html http://www.shakespeare-parodies.com/ http://www.makeup-fx.com/Indexeng.html

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