PRELIMINARIES

GRADUATE ATTRIBUTES
Effective Communicator, Design Thinker, and Results-driven Professional
(Mission, Vision, Core Values)
COURSE OUTCOMES In this lesson, students will create a script and act in a commercial for a made-up product. The commercial will be filmed and all class commercials will be played back for the class. The
class will vote on the commercial that did the best job of selling the product.
CONTENT I. Sold: Acting for the Commercial
ASSESSMENT Filmed performance of a commercial
TIME FRAME WEEK 1 – Session 1 (90 minutes) WEEK 1 – Session 2 (90 minutes)
ACTIVITIES EXPLORE TRANSFER
(STRATEGIES) 1. For the first step of this lesson, the teacher should find a variety of product Summative Assessment Formative Assessment
commercials to show the class. Include some that are very effective in delivering and At the close of the lesson, view all Before closure of the lesson, have each
communicating about the product, and one or two that are not so effective. Enter commercials as a full class. Ask students to student complete a quick write to answer the
into a class discussion about what made these effective or ineffective, with a specific vote on which commercial was the most following question:
focus and questioning about the actors. successful in selling the product. Survey all  Identify what characteristics or part of
2. Ask the question, did the acting sell the product? If not, what could be changed to help students and view the results at the end of your group's acting performance was
sell the product through the actor? the class. The group with the most votes as most effective in communicating the
3. Next, tell the students that they will work in collaborative teams of 3 to create a an effective commercial can win a prize of the product?
commercial based on a made-up product. teachers choosing.
FIRM UP/DEEPEN
1. Once students are grouped in their small teams, have them brainstorm a product to *** The final filmed performance of the
sell. This should be a product that does not yet exist. commercial will be the summative product.
2. Students should then write a script for the commercial (be sure that all students have
an acting part). The script should be between 30-50 seconds long. Students can Teacher will assess the work based on the
create or use props and costuming to enhance their commercial as they wish. following criteria:
3. Students will need to submit the script to the teacher for approval, prior to moving on a. Did the students work
to the filming of the commercial. The teacher should be circulating to check for collaboratively?
scripts as the students are working on this phase. b. Did the students use theater skills to
4. Once their commercial script is signed off and ready to go, students will begin to communicate ideas about a new
rehearse their commercial. product?
5. For the filming of the commercial, each team will pair up with another team to assist c. Did the students identify the
with filming. Team 1 will perform while team 2 films using their mobile phones. Then characteristics of an effective acting
the teams will switch until all filming is complete. performance?
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COURSE OUTCOMES In this lesson, students will interpret a work of visual art using viewpoints perspective and respond physically by creating a pre-story and a post-story to the scene of the painting.
CONTENT II. Responding to Art using Viewpoints
ASSESSMENT Act out the beginning and ending with the tableau scene of the actual Renoir painting
TIME FRAME WEEK 2 – Session 1 (90 minutes) WEEK 2 – Session 2 (90 minutes)
ACTIVITIES EXPLORE TRANSFER
(STRATEGIES) 1. Tell the students that for this lesson, we will be using the viewpoints technique of Formative Assessment Summative Assessment
composition, a way of acting based upon movement and gesture. The viewpoints Students should work in two ensembles to begin to Students will be assessed based
technique focuses on the elements of space, story, time, emotion, movement, and develop a "story" about the painting. In their groups the upon teacher observations
shape in acting. students will develop their characterizations during class discussion time and
2. For this lesson, display Pierre Auguste Renoir's painting, Luncheon of the Boating Group 1: This group of students will tell the pre-story of the the final performance via rubric:
Party (This lesson can be done with really any work of art). Students should take a few art scene.  How well has the
minutes to observe the artwork closely. a. What got these people in the painting to student researched,
3. After time to observe, have the students turn to their partner and talk about their this point in time? developed, and
observations. Remind students that observations are derived strictly from what they b. What happened prior to this moment delivered their
see, they should not be interpreting the painting. depicted by Renoir? character?
4. After paired discussions, begin a whole class discussion about the painting. First ask After developing the characters and plot, students will work
for the observations that they made with their partners. to act out this scenario, ending with the tableau scene of
a. What parts of this painting stand out to you? the actual Renoir painting. Students should focus on
b. What do you notice about the use of color in the painting? What does that identifying and connecting their interpretation using space,
remind you of? story, time, emotion, movement, and shape.
c. What do you find most interesting about the painting?
d. Where is the focus in this painting? What draws your eye to the focus? Group 2: This group of students will tell the post-story of
e. Where is the setting for the painting? the art scene.
FIRM UP/DEEPEN a. From where they are beginning in the
1. Next, use our observations to begin to make interpretations about the painting. Have painting, what are they doing?
students take a few minutes with your partner to decide on possible meaning and b. What happened after this moment
explanations. depicted by Renoir?
a. What do you think these characters are doing? After developing the characters and plot, students will work
b. Who are these people? What is their backstory? to act out this scenario, beginning with the tableau scene of
c. Why are they here at this moment in time? the actual Renoir painting. Students should focus on
2. Have students write down their thoughts in their drama reflection journals. identifying and connecting their interpretation using space,
story, time, emotion, movement, and shape.

Have students perform their physical re-telling of the

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painting for the class.

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RESOURCES
COURSE OUTCOMES In this lesson students will practice body positioning and become familiar with the areas of the stage. Students will use this knowledge to make stage direction and blocking notations on a
short scene and act out the scene for their peers.
CONTENT III. Stage Direction and Blocking
ASSESSMENT Stage Direction and Blocking Activity
TIME FRAME WEEK 3 – Session 1 (90 minutes) WEEK 3 – Session 2 (90 minutes)
ACTIVITIES EXPLORE TRANSFER
(STRATEGIES)  Processing: Define lesson vocabulary.  Body positions: These relate to the actor as he/she faces the audience. Summative Assessment
 Stage Directions: blocking, stage left,  One Quarter: The actor is a quarter turn from the audience. This is commonly used when 1. Students will perform their short
stage right, upstage, downstage, center two actors are in a scene. It allows the audience to be able to see both actors. Actor one scenes, incorporating stage and
stage, sight lines, backstage, cross, places the upstage foot parallel to the apron of the stage and the downstage foot is turned body directional choices in the
proscenium, thrust, theatre-in-the- toward the audience. scene. Peers will act as audience
round, cheating out, plot, direct focus,  Full Front: In this position the actor faces the audience square. It is mostly used to deliver members and take notes in their
stage heavy, apron, wings key lines. drama reflection journals on each
 Profile View: Two actors will face each other with upstage foot turned slightly toward the scene.
1. Explain that stage directions are center. Used mostly for very intense scenes such as arguing. a. Were students able to make
given from the actor's point of view.  Three Quarter: The actor is turned away from the audience so all the audience sees is stage directions that were
2. Explain that Upstage and Down one quarter of the actor’s face. This stance is used when the actor is giving the scene to meaningful to the scene?
stage are called this because the another actor on stage. b. Were students able to make
stage used to be raked/sloped stage  Full Back: The actor turns his back to the audience. This is very rarely used and only for choices in body direction
earlier centuries. very specific reasons. that enhanced the story?
FIRM UP c. What choices would you
1. If you have access to your school’s stage, you can use the stage, if not, in your classroom tape a large box, dividing it with tape lines to have made differently?
achieve 9 squares (like a tic-tac-toe game board) 2. After each performance, stop and
2. Divide the class in half. One half of the students will act as the directors and give stage and body directions. The other half will be the allow students the opportunity to
actors and take directions from the directors. reflect on the scene and the choices
3. Have the "directors" each take turns to call out directions to the "actors". Have the directors move the actors around the stage and in direction. Allow the performers
change their body movements by calling out directions to them. time to state why they made the
4. Continue this exercise until you feel confident that the students have a good grasp on both stage direction and body directions. You choices they did and their peers the
can also switch the groups giving all the chance to be actors and directors. opportunity to ask questions or give
DEEPEN feedback as to what they would have
1. Once you have finished the blocking exercise. Organize students in pairs or small ensembles. Give each group a short scene and have done differently.
them work through the scene to make notations of stage direction and body positioning.
2. Tell students that they will need to perform their scene incorporating these cues in their acting. Give students ample time to make
directing notations and solidify their acting.

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COURSE OUTCOMES In this lesson, students will collaborate to create and perform an original scene from an "open script" and use imagination to create believable characters, settings, relationship and conflict.
CONTENT IV. Open Script Scenes
ASSESSMENT Creating and performing an original scene from an "open script"
TIME FRAME WEEK 4 – Session 1 (90 minutes) WEEK 4 – Session 2 (90 minutes)
ACTIVITIES EXPLORE TRANSFER
(STRATEGIES) 1. An open script is written in such a manner that it can be interpreted in many different ways. Summative Assessment
2. Today, you will work in pairs to create and perform an original scene from what is called an "open script/scene." 1. Give each pair five minutes
3. From this basic script outline, you and your partner will develop and perform a one- to two-minute scene in which you both make acting and to rehearse their "Open
directing decisions. This means your scene should be at least one minute in length, but no longer than two minutes. Your scene will be Script" for performance in
videotaped for reflection and evaluation purposes. class today. Also, review the
4. Explain that student pairs should analyze rubric being used to grade
a. Character: Who are you? Why are you here? (One of the actors will play "A" part and one will play "B" part) their "Open Script" and
b. Relationship to each other: How do you know each other? Are you strangers? Do you like each other? scene. Pairs will present their
c. What is the Conflict: What is happening right now, in this scene, to make you say these words? "Open Script" performance
5. As a whole group, go through an example of the following open scene and develop character, relationship and conflict: to the rest of the class.
A: Hi! A: Don't you have your phone? A: What did you do this morning?
Graded using rubric. Before
B: Hello. B: Not on me. B: Nothing!
each presentation, each
A: How are you? A: Well! A: Nothing?
B: I'm good. B: Well what? B: I said nothing. student in the pair will hand
A: Do you know what time it is? A: What did you do this morning? A: Sorry I asked in their worksheet.
B: No. I don't. B: What do you mean? B: That's alright.
FIRM UP/DEEPEN
1. Pair students in teams of two.
2. Use the "Open Script" and the Rehearsal Process Worksheet to create a scene with believable characters, blocking, and a cohesive plot. You and
your partner should work together as each of you fills out your own worksheets.
3. YOU SHOULD USE GESTURES, FACIAL EXPRESSIONS, AND BODY MOVEMENTS TO FULLY REALIZE YOUR CHARACTER. YOU ALSO SHOULD
CHOOSE BLOCKING THAT WILL REVEAL YOUR CHARACTER AND THE CONFLICT IN YOUR SCENE. YOU MUST USE ALL OF THE WORDS IN THE
SCRIPT IN THE EXACT ORDER GIVEN AND YOU MAY NOT ADD ANY WORDS.
4. You may mark your script with notations on blocking, stage business, and emotional context. Work together to make sure that the scene has a
clear beginning, middle, and end. The only set pieces you may use are the two chairs; all other props must be mimed. USING THESE CHAIRS IS
OPTIONAL.
5. You will have 20 minutes to fill out the Rehearsal Process Worksheet and rehearse your scene before it will be videotaped. It is recommended
that you read the script several times, trade roles as character A and B, and improvise scene ideas. When ideas for conflict or situations arise,
choose the one you feel has the most dramatic potential. You will be evaluated individually on your voice, movement, character, ensemble, and
the Open Script Worksheet. After you perform, you will complete a self-evaluation using the rubric in the Summative Assessment.

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6. If you wish, you may use the script during your performance, but try to use it in an unobtrusive manner. You will not be assessed on your

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memorization of the script.
RESOURCES
COURSE OUTCOMES In this lesson students will recite, translate and act out a Shakespearian scene. Students will first read the scene as written, then break down the language into contemporary English. The
lesson will conclude with the students performing the scenes for the class.
CONTENT V. Modern Day Shakespeare
ASSESSMENT Performing a modern version of a Shakespeare classic.
TIME FRAME WEEK 5 – Session 1 (90 minutes) WEEK 5 – Session 2 (90 minutes)
ACTIVITIES EXPLORE TRANSFER
(STRATEGIES) 1. Select a passage from one of Shakespeare's plays. Summative Assessment Formative Assessment
2. Have students respond to the passage: What does it mean to you? How would you 1. Have each duet (or ensemble) 1. As a class group, take one
interpret this in modern English? present its original and the modern Shakespeare scene and break down
3. Have a few students briefly share their personal interpretations of what the quote translation of their Shakespearian the language as a group. Ask
means. scene to the class. students what a line means and have
4. The teacher will recite one of the soliloquies from Romeo and Juliet or A Midsummer's 2. After each group's performances, students turn and talk. As the
night’s Dream and then paraphrase (a basic translation into Modern English) for the discuss how the modernized versions students discuss with their partners,
students to demonstrate what the students will be doing in this activity. compare to the original play. Was circulate and check for
5. Re-read the quote again, and together, as a class, break down the meaning of the there meaning that was lost in the understanding.
quote in modern English line by line. translation process? Was their
FIRM UP/DEEPEN meaning that was gained?
1. Organize the class into small groups of two or three students (depending on the 3. The students understanding can be
scene) and inform groups that today they will breakdown the text, analyzing its assessed by the final scene
content, and then modernizing its content for a contemporary audience. performance. Was the student(s)
2. Have several scenes from Shakespeare's work for students to choose from (ranging able to portray the meaning of the
from 2-3 scene partners) play in modern English? Did the
3. Instruct each group to write an adaptation of their chosen scene by changing the student demonstrate comprehension
context of the speech to apply to a more modern setting. Students could elect to of the script?
simply substitute modern slang terms for archaic ones, or as a more challenging 4. The student’s scene work can be
translation, students could write a satire based on the scene and an event in modern assessed on creativity and their
times. demonstration of varying the
4. Select scenes from the following plays: Hamlet, Macbeth, Romeo and Juliet, The language in the original scene.
Tempest, and A Midsummer Night's Dream.

RESOURCES

TIME FRAME WEEK 6

ACTIVITIES TERM EXAMINATION

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(STRATEGIES) *** end of preliminaries ***

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 MIDTERM
GRADUATE ATTRIBUTES
Effective Communicator, Design Thinker, and Results-driven Professional
(Mission, Vision, Core Values)
COURSE OUTCOMES Effectively perform and execute an original script that will explore the rich and complexity of storytelling with the intention of highlighting one of the core values of OLSHCO.
CONTENT VI. Film Introduction: Development VII. Film Introduction: Pre-production
ASSESSMENT Cine Colegio Film Festival Film Entry
TIME FRAME WEEK 7 – Session 1 (90 minutes) WEEK 7 – Session 2 (90 minutes)
ACTIVITIES EXPLORE EXPLORE
(STRATEGIES)  Introduce students to development, the first stage of the film production process, by  Begin the class by introducing students to pre-production using the Creative Content
taking them through the PowerPoint presentation inspired by Creative Content Australia Making Movies PowerPoint presentation. Before teaching the class, it’s a
Australia Making Movies. good idea to refamiliarize yourself with pre-production by reading the Creative
Content Australia Making Movies PDF.
FIRM UP FIRM UP
 As you are going through the PowerPoint Presentation with students, encourage them  During pre-production, there are a number of departments working together to
to take notes when they see the pencil symbol. Some major points to cover when prepare for production. The best way to illustrate the work completed during these
discussing development include: securing the options for a story; the formation of a stages is to use short bonus features from DVDs and Blu-rays. Select the videos that
development team; the creation of a prospectus to attract funding; the employment are most engaging for your students and allow them to appreciate the work that goes
of a production manager and first assistant director to develop a preliminary budget into pre-production.
and shooting schedule.
DEEPEN DEEPEN
 Watch the video ‘Top 10 movies that we stuck in development hell’ which is a  After discussing pre-production and giving an overview of what happens during this
humorous look at films stuck in development. It is not necessary to show the whole stage of the film production process, watch ‘The Hobbit, Production Diary 1’ to
video, if you start at 13m 3s, the video provides a brief recap of the top ten films stuck reinforce the work that is completed during pre-production.
in development hell.
TRANSFER TRANSFER
 To consolidate students’ understanding of development and illustrate how filmmakers  Homework: Students read the Pre-production section of the Creative Content
work collaboratively during this stage of production, it is worthwhile examining some Australia Making Movies PDF, taking further notes on this stage.
Blu-ray and DVD bonus features to illustrate the process of development.
 Homework: Students read the Development section of the Creative Content Australia
Making Movies PDF, taking further notes on this stage.
RESOURCES Creative Content Australia Making Movies PDF Creative Content Australia Making Movies PDF
Creative Content Australia Making Movies PPT Creative Content Australia Making Movies PPT
Top 10 movies that we stuck in development hell Selected DVD and Blu-ray special features
Duel, ‘The Writing of Duel’, Universal Pictures.
District 9, ‘The Alien Agenda: Part 1’, Sony Pictures.

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Batman Begins, ‘The Journey Begins’, Warner Brothers Pictures.

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Alien Quadrilogy, ‘Star Beast’, 20th Century Fox.
CONTENT VIII. Film Introduction: Production IX. Film Introduction: Post-production
ASSESSMENT Cine Colegio Film Festival Film Entry
TIME FRAME WEEK 8 – Session 1 (90 minutes) WEEK 8 – Session 2 (90 minutes)
ACTIVITIES EXPLORE EXPLORE
(STRATEGIES)  Use the Creative Content Australia Making Movies PowerPoint presentation to  Use the Creative Content Australia Making Movies PowerPoint presentation to guide
introduce students to what happens during production. students through post-production. Some important aspects to remember: the editors
and director create several cuts of the film; visual effects artists continue to finalize
shots; dialogue editors combine ADR and location recordings; sounds effects editors
combine atmosphere sounds, foley and sound effects to create the soundtrack;
composers create original music for the film; when the final cut of the film is approved
it goes to the distributor.
FIRM UP/DEEPEN FIRM UP
 Watch ‘Unearthing Buried: The Making of Buried’, which is available on Youtube  There are a number of DVD and Blu-ray special features that can be used to illustrate
already. the post-production process. Choose short clips that are suitable and engaging for
your students and help to illustrate what occurs during post-production.
»» Editing »» Music »» Sound
 Harry Potter and the  Rogue, ‘The Making of  SoundWorks
Order of the Phoenix, Rogue: The Music’,  Gary Hecker: Veteran
‘Harry Potter: The Dimension. Foley Artist
Magic of Editing’,  The Bourne  Veteran ADR Mixer
Warner Home Video. Supremacy, ‘Scoring Doc Kane
 The Social Network, with John Powell’,
‘Angus Wall, Kirk Universal Studios.
Baxter and Ren Klyce  The Dark Knight, ‘The
on Post’, Sony Pictures. Sound of Anarchy’,
 Star Wars: Episode III - Warner Home Video.
Revenge of the Sith,
‘Within a Minute:
Editorial’, Twentieth
Century Fox.

TRANSFER DEEPEN
 Activity: Using the Creative Content Australia Making Movies PDF, read over the  Conclude by watching this segment covering the post-production of The Hobbit.
chapters on Development, Pre-Production and Production. Make a list of ten lessons
that student filmmakers can learn from professionals, e.g. During pre-production,
create a look board to establish the visual style of your film.
RESOURCES Creative Content Australia Making Movies PDF Creative Content Australia Making Movies PDF

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Creative Content Australia Making Movies PPT Creative Content Australia Making Movies PPT

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Buried, ‘Unearthing Buried: The Making of Buried’, Lionsgate.
CONTENT X. Film Making: Pre-Production
ASSESSMENT Cine Colegio Film Festival Film Entry
TIME FRAME WEEK 9 – Sessions 1 & 2 (180 minutes)
ACTIVITIES EXPLORE
(STRATEGIES)  During these classes, students will form small groups,
assign roles and embark on their own short film
production to create a twenty second thriller.
Depending on the rules that Cine Colegio Film
Festival has for filming, you might choose to
complete this task in school or outside of school. It’s
important to establish this from the outset so that
students can plan their films appropriately. Again,
establishing the constraints of this activity is
important from the outset. The size of groups is also
important. This means you can have someone acting,
someone behind the camera and someone on sound.
RESOURCES Worksheet 3: Pre-production
Handout: Music and Copyright
TIME FRAME
ACTIVITIES
(STRATEGIES)
WEEK 10 – Sessions 1 & 2 (180 minutes)
FIRM UP
 Distribute the Pre-production handout and talk
students through the process of planning their film.
By the end of the session they will have put together
a pitch, in the form of a PowerPoint presentation,
that they can present to the class. This presentation
ideally includes: treatment, storyboards, location,
casting, music and health and safety.
 Note: The students will be working alongside the
students who are taking Arts Appreciation and
Readings in Philippine History courses.
WEEK 12
TERM EXAMINATION
*** end of midterm ***
WEEK 11 – Sessions 1 & 2 (180 minutes)
DEEPEN
 In the final two session, students should present their
pitch to the class. During this stage, you can discuss
the suitability of their idea and arrange time to shoot
until their presentation is approved by their teacher.
 Note: Each group will start their production after the
Midterm Examination Week, and three weeks after
that, they will start their post-production.
 Also, the deadline of the film production depends on
the approved schedule of the Film Festival.
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 FINAL TERM
GRADUATE ATTRIBUTES
Effective Communicator, Design Thinker, and Results-driven Professional
(Mission, Vision, Core Values)
COURSE OUTCOME Apply oral skills during a class debate.
CONTENT XI. Impromptu Speech
ASSESSMENT Impromptu Speech Activity
TIME FRAME WEEK 13 – Session 1 (90 minutes) WEEK 13 – Session 1 (90 minutes)
ACTIVITIES EXPLORE DEEPEN
(STRATEGIES) 1. Begin the lesson by instructing students to briefly think about the following topic: What is your favorite 1. Assemble students and random topic cards into the small
activity and why? groups. Share the following instructions with the groups:
2. Ask for volunteers to respond to the topic by sharing an impromptu speech. Explain that an impromptu a. Select a topic card.
speech is delivered without preparation ahead of time and lasts between one and three minutes. b. Think about the topic for no more than two minutes.
FIRM UP c. Talk for no more than three minutes.
d. Listen to each group member share one positive
1. Choose several volunteers to present. After each student speaks, ask the audience to share feedback on
observation and one suggestion for improvement.
what was effective and what could be improved. Generate a discussion about public speaking, students'
2. Instruct each group to assign a time keeper. Then allow time for
experiences with presenting, and historically famous speeches about which students have learned.
each student to participate in giving his/her impromptu speech.
2. Distribute the Rubric for Speeches. Using the overhead projector, review the expectations. Discuss
3. Once the groups have finished, process the activity with the
appropriate content, organization, and presentation when public speaking.
class. Ask students what they learned, what they still need to
3. Share with students that they will be practicing their speaking skills while giving impromptu speeches about
work on, and what questions they may still have about public
topics most interesting to them. They will be working in small groups, selecting a random topic, and
speaking.
speaking to the group about that topic. Although students will not be graded on the impromptu speech,
they should practice the skills. Mention to them that they will be preparing another speech later in the week
that will be evaluated according to the rubric standards.
4. Ask students to brainstorm interesting topics about which they will orally present to the class in a one to
three-minute speech. Distribute 3–5 index cards to each student, instructing them to write 3–5 topics they
would be interested in speaking about on the cards. You may want to share the following suggestions
beforehand:
a. Why do teenagers today grow up so fast?
b. Should parents censor the kind of music their teenagers listen to, the type of television shows or
movies they watch, or the type of books they read?
c. If you could pump enormous amounts of money into one area of scientific research, what area would
it be?
5. Collect all topics. If time permits, read through each, making sure they are spelled correctly and are

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appropriate before making them available to students.
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CONTENT XII. Extemporaneous Speech
ASSESSMENT Extemporaneous Speech Activity
TIME FRAME WEEK 14 – Session 1 (90 minutes) WEEK 14 – Session 2 (90 minutes)
ACTIVITIES EXPLORE TRANSFER
(STRATEGIES) 1. Begin the lesson by distributing a randomly type of research material to each student. A. CHOOSING A TOPIC
Instruct them to use the resource to find an interesting topic. Tell them they have 15 1. Distribute the Steps to the Perfect Speech Topic printable to each student.
minutes to gather as much information on the subject as they can and write the most 2. Remind students of the six steps. Tell them that they will choose a topic today by
important points on index cards. brainstorming every idea they can think of, using specific criteria to narrow down the
FIRM UP ideas, and creating an idea web to decide on "the perfect topic."
1. Upon completion, invite several volunteers to deliver a basic three-minute talk on 3. Instruct students to read through the handout and complete the process.
their chosen topic. 4. You should approve each student's topic to ensure it follows the criteria.
DEEPEN
1. Process the activity by asking students what differences they noticed between these
types of speeches and those from Lesson One: Impromptu Speeches. Compare an
impromptu speech with an extemporaneous speech. Share with the students that an
extemporaneous speech is researched and rehearsed ahead of time. Note cards are
permitted. The topics are likely to be assigned and the speech is usually intended to
do one of four things: to inform, to persuade, to entertain, or to share on special
occasions. The extemporaneous speech generally ranges between three and ten
minutes.
2. Share with students that they will be writing and delivering an extemporaneous
speech over the next few days. Introduce the six steps you posted in the classroom
and briefly discuss the expectations.
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CONTENT XII. Extemporaneous Speech
ASSESSMENT Extemporaneous Speech Activity
TIME FRAME WEEK 15 – Session 1 (90 minutes)
ACTIVITIES
(STRATEGIES) B. RESEARCHING
1. Remind students that they will need
to disclose the sources that they
used during their research in the
body of their speech, preferably one
from a traditional print source such
as an encyclopedia, magazine, or
nonfiction book, one from web
source, and one from a non-
traditional source, such as a personal
interview, a fiction title, or song
lyrics. Therefore, they need to
conduct a good amount of research.
2. Distribute more index cards and tell
students to write the title and other
important data, such as the author,
publisher, and date of publication, of
each source they use on the index
cards. Remind them to share this
information in the body of their
speech.
3. Allow ample time for students to
complete the research phase.
RESOURCES
WEEK 15 – Session 2 (90 minutes) WEEK 16 – Session 1 (90 minutes)
TRANSFER
C. WRITING D. PRACTICING
1. Once students have gathered all research and completed their index cards, they can 1. Allow students to spend a class
begin writing the body of their speech. Share with them that the speech structure is period rehearsing their speech. If
similar to that of the essays that they have written in class and consists of three parts: desired, video or audio tape them so
a. Introduction: you tell them what you are going to tell them that they can critique themselves
b. Body: tell them later. Encourage each student to
c. Closing: tell them what you have told them practice out loud, practice making
2. Instruct students to first concentrate on the body of their speech. Have them decide consistent eye contact with the
on three main points to make during the speech using the information they gathered audience while taking occasional
during the research phase. Have them create an outline with supporting details for glances at their note cards, and write
each main point. any last-minute notes of
3. Have students write out the speech using the outlines. encouragement or final details on
4. Help students transfer the information in their written speech to bulleted points on their note cards. Remind students
index cards. Remind them that they will not be reading their speech, but using the that they will be graded according to
index cards to stay on track. Allow ample time for students to complete the body of the rubric standards, so they should
their speech. review it at this time.
5. When students are finished with the body of their speeches, help them craft an
engaging introduction and conclusion. Briefly discuss the need to "hook" the audience
when delivering a speech. Share the five audience-grabbing techniques and instruct
them to decide which they will use for their introduction:
a. Tell a story
b. Cite a statistic
c. Ask a question
d. Paint a picture
e. Share a quotation
6. Provide examples when necessary.
7. Share that the conclusion is like the introduction but in reverse order. Tell students to
begin with a recap of what they discussed in the speech and end with a memorable
closing statement. Provide examples if necessary.
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CONTENT XII. Extemporaneous Speech
ASSESSMENT Extemporaneous Speech Activity
TIME FRAME WEEK 16 – Session 2 and WEEK 17 – Session 1 (180 minutes) WEEK 17 – Session 2 (90 minutes)
ACTIVITIES TRANSFER
(STRATEGIES) E. DELIVERING F. PROCESSING
1. Students are now ready to deliver their extemporaneous speeches. Instruct them to 1. The session after students deliver their speeches, ask students to write a self-reflective
hand you their rubric prior to beginning. Tell the audience to refrain from talking or assessment of their experience in this process. Encourage them to write freely about
distracting the speaker and to make mental notes of each speech in order to provide what worked, what needed improvement, and any other thoughts or feelings they had
feedback at the end. during the process.
2. Upon completion of each speech, ask a few volunteers to share some positive 2. Invite volunteers to share, but do not make it a requirement. Collect the assessment.
feedback with the speaker.

RESOURCES

TIME FRAME WEEK 18

ACTIVITIES CULMINATING ACTIVITY
(STRATEGIES) The Great Debate

When you complete the unit, spend a class period allowing your students to apply their oral skills during a class debate. Instruct students to select a pertinent topic, create eight debate teams,
with at least 4 members each, provide time for teams to develop their arguments, and hold a "Great Debate."
*** end of final term ***

Prepared by: Reviewed by: Approved by:

George Kevin N. Tomas Rubelyn M. Esperon, PhD Rubelyn M. Esperon, PhD

Instructor Program Head College Dean

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