UMUC – MAT Program

Annotated Lesson Plan Format for Classroom Observations

Lesson 1
Name: Chelsea Byrne Subject and Grade: English 10

Unit: Antigone Time Allotted: 50 Minutes

Lesson Topic: Background on Greece

Context for Learning: This lesson is the first in a series on Ancient Greek drama. In this lesson, students
will activate their prior knowledge about Ancient Greece and build their background about Ancient
Greek theater. Based on the sequence of the history curriculum, most students will probably have some
background knowledge about Greece from middle school or early high school, but they probably do not
know much about drama from that period.

The classroom also has a smartboard, and each student is assigned a Chromebook. Assignments are
given as pen and paper exercises or delivered via Google classroom and Commonlit. Students sit with
their cooperative base groups at tables of four.

Curriculum and SPA Standards Addressed:

From the Maryland College and Career Ready (Common Core) Standards (n.d.):

• CCSS.ELA.SL.9-10.1 Initiate and participate effectively in a range of collaborative discussions

(one-on-one, in groups, and teacher-led) with diverse partners on grades 9-10 topics, texts, and
issues, building on others' ideas and expressing their own clearly and persuasively.
• CCSS.ELA.RI.9-10.2 Determine a central idea of a text and analyze its development over the
course of the text, including how it emerges and is shaped and refined by specific details; provide
an objective summary of the text.

National Council of Teachers of English Standard (1996):

• Standard 11: Students participate as knowledgeable, reflective, creative, and critical members of
a variety of literacy communities.

Objectives (observable and measurable):

Students will identify at least 1 key characteristic of Greek drama.

Students will compare characteristics of Greek drama with modern drama and film with a Venn Diagram.
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Materials:

• Class set of journals

• Class set of “A Primer on Greek Drama” (Appendix A)
• Padlet QR Codes for the KWL chart
o Know: https://padlet.com/chelseanran/udh080615ocha91o
o Want to Know: https://padlet.com/chelseanran/f1ft5tirnbqc44mx
o Learned: https://padlet.com/chelseanran/a8heovdcg3keyfw
• Student smartphones
• Smartboard
• Computer or laptop to connect to the Smartboard
• Access to Crash Course Theater: https://www.youtube.com/watch?v=VeTeK9kvxyo
• Large Sticky Notes
• Washable Markers
• Whiteboard and dry erase markers
• Pens/Pencils

Proactive Behavior Management:

1. At the beginning of the year, students will have negotiated a class list of discussion rules and
behavioral expectations, written on a giant sticky posted in a prominent part of the room.
2. The day’s objective, agenda, and bell-ringer instructions would be posted on the board as
students are walking in. Students will pick up their English journals, which are stacked on a table
by the door, as they walk in and sit down to their independent work. Group work instructions will
be clearly posted on the smartboard when the time comes.
3. A section of the board reserved for “student stars” will allow me to write down and call out any
students who are well-prepared and following directions, which will signal other students to
transition efficiently.
4. Timers will be broadcast on the smartboard during activities to let students know how much time
they must complete each step of the process.
5. I will use proximity control throughout the lesson to ensure students stay on task.

Provisions for Student Learning: This lesson harnesses the power of smartphones to keep students on
task. Having students use their smartphones for participation cuts out room for using these
smartphones for off-task behavior. Furthermore, the interactive KWL chart invites students to set their
own agenda for learning, which leads to increased motivation and engagement.

Procedures

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Introductory / Developmental Activities

• Warm-Up Journal (5 minutes + 3 minutes to Share): Students will write a quick journal entry in
their notebooks to the following prompt: What is your favorite movie? What is it you love the
most about it? (Writing? Mood? Acting? Set? Special Effects?)
o After the 5-minute timer goes off, at least 3 students will have the opportunity to share
their ideas. Students must share their journal ideas aloud twice per quarter, and the
teacher will keep track of who has yet to share for that period by asking students who
share to add a star sticker to the paper tracker at the back of the class.
o Two student volunteers will collect the journals and add them to the designated spot on
the front table.
• Bridge (3 minutes): The teacher will connect the topic of movies to Ancient Greek drama, which
is the topic of the unit. She will describe how analyzing the drama of our time will help us
connect to this ancient form of artistic expression.
o Reading the Objective: The teacher will ask a student volunteer to read the objective.

Guided Practice and Independent Tasks

• KWL Padlet (7 minutes total): The teacher will deliver the following directions on the whiteboard
as she explains the next activity, which will be an interactive KWL chart on Padlet.
o KNOW Padlet (3 minutes):
1. Listen to all directions before starting.
2. Pull out your smartphone and scan the QR code for the “Know” Padlet.
3. In the SUBJECT line, add your name.
4. Underneath the subject (where it says “Write something incredible”), add 1 thing
you know about Ancient Greece. (Feel free to add pictures too!)
• After the 3-minute timer goes off, teacher will ask students to review the whole
board, silently noting what is new to them.
o WANT TO LEARN Padlet (3 minutes):
1. Scan the QR code for the “WANT TO KNOW” Padlet.
2. In the SUBJECT line, add your name.
3. Underneath the subject (where it says “Write something incredible”), add 1
question you have about Ancient Greece or theater.
o The teacher will then explain that the class may learn the answers to these questions and
more as we go along in the unit. As we go, we will also update the “LEARN” Padlet, which
will be broadcast at the end of class. Now it’s time to put away our Smartphones so we
can focus on the next activity
• Video – Crash Course Theater (12 minutes): The teacher will broadcast the Crash Course
video on the Smartboard and instruct students to note any new vocabulary terms or
significant facts they hear in their notes.

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 • Group Discussion - Movies vs Greek Drama (12 minutes): Students will engage in a discussion at
their group tables to record similarities and differences between modern movies and Ancient
Greek drama in a Venn diagram. They will record their Venn diagrams on large sticky notes. After
about 5 minutes of working, each group will briefly share one of their similarities and one
difference.
• LEARNED Padlet (5 minutes): The teacher will deliver the following directions on the whiteboard
as she explains the next activity, which will be an interactive KWL chart on Padlet.

1. Listen to all directions before starting.

2. Pull out your smartphone and scan the QR code for the “LEARNED” p\Padlet.
3. In the SUBJECT line, add your name.
4. Underneath the subject (where it says “Write something incredible”), add 1 thing you
learned about Ancient Greece or theater from the video or class discussion. (Feel free to
add pictures too!)
o The teacher will lead a discussion noting what was added to the Padlet and what in
the “Want to learn” Padlet has not yet been answered.
• Closure (3 minutes): The teacher will explain that the class will preview their own reading of
the Greek play Antigone by learning the backstory of her father Oedipus for homework. They
will also review the “Primer on Greek Drama.” As they read, they should note what aspects of
Greek drama they see in the story. The exercise is already posted to their Commonlit
accounts and on Google Classroom. As students leave the door, the teacher will hand each
student a copy of the “Primer on Greek Drama” (also available on Google Classroom is they
lose it), so that they can review the elements of drama.

Adaptations:

• Laptops and assistive technology: Students who have dyslexia or dysgraphia will be able to use
laptops and speech to text during writing activities.
• Audiobook/screen reader: Commonlit has a built-in screen reader for students to listen to the
Oedipus story for homework. Commonlit also allows students to change the size of the text for
the visually impaired.

Assessment:

Formative assessment: Padlet will activate prior knowledge (KNOW) and serve as a check for
understanding (LEARNED). The collaborative Venn Diagram will also show learning

Summative assessment (not in this lesson): Students will eventually take a true/false test on the
elements of Greek drama. In the 4th lesson of the sequence.

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Generalization/Extension Activity: Some students may know a lot about the Ancient Greeks or have
taken part in theater classes. These students are welcome to add more to the Padlets for the “KNOW”
and “LEARNED” categories. They will also be encouraged to research their “WANT TO LEARN” questions
on their own.

Review/Reinforcement (Homework): Students will complete the following:

1. Read “A Primer on Greek Drama.”

2. Read “The Legend of Oedipus” on Commonlit and complete the assessment questions.
3. Reflect on what elements of Greek drama they see in Oedipus to prepare for discussion next
class.

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Lesson 2
Name: Chelsea Byrne Subject and Grade: English 10

Unit: Antigone Time Allotted: 50 Minutes

Lesson Topic: Oedipus and Family Fate

Context for Learning: This lesson is the second in a series on Ancient Greek drama. In this lesson,
students will apply their understanding of Greek drama from last class to analyzing the story of Oedipus.
Students will discuss their views on fate, compare these with the view of fate presented in Oedipus’
legend, and make predictions about how fate might feature in Antigone. They will also learn the Oedipus
family tree.

The classroom also has a smartboard, and each student is assigned a Chromebook. Assignments are
given as pen and paper exercises or delivered via Google classroom and Commonlit. Students sit with
their cooperative base groups at tables of four.

Curriculum and SPA Standards Addressed:

From the Maryland College and Career Ready (Common Core) Standards (n.d.):

• CCSS.ELA.SL.9-10.2 Determine a theme or central idea of a text and analyze in detail its development
over the course of the text, including how it emerges and is shaped and refined by specific details; provide
an objective summary of the text.
• CCSS.ELA.RL.9-10.6 Analyze a particular point of view or cultural experience reflected in a work of
literature from outside the United States, drawing on a wide reading of world literature.

National Council of Teachers of English Standard (1996):

• Standard 3: Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with other readers and
writers, their knowledge of word meaning and of other texts, their word identification strategies,
and their understanding of textual features (e.g., sound-letter correspondence, sentence
structure, context, graphics).

Objectives (observable and measurable):

Students will analyze “The Legend of Oedipus,” citing 3 examples of Greek dramatic elements in the
story.

Students will explain the relationship between the stories of Oedipus and Antigone.
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Materials:

• Class set of laptops with internet access

• Class set of Antigone (Fitts and Fitzgerald for college prep level; Fagles for honors classes)
• Class set of Oedipus Short Answer Questions (Appendix B)
• Story of Oedipus PowerPoint
• Teacher computer or laptop connected to the Smartboard
• Smartboard
• Access to Commonlit – The Legend of Oedipus: https://www.commonlit.org/en/texts/the-
legend-of-oedipus
• 2 paper signs on either side of the room reading “Strongly Agree” and “Strongly Disagree”
• Whiteboard and dry erase markers
• Paper
• Pens/Pencils

Proactive Behavior Management:

1. At the beginning of the year, students will have negotiated a class list of discussion rules and
behavioral expectations, written on a giant sticky posted in a prominent part of the room.
2. The day’s objective, agenda, and bell-ringer instructions would be posted on the board as
students are walking in. Students will pick up their English journals, which are stacked on a table
by the door, as they walk in and sit down to their independent work. Group work instructions will
be clearly posted on the smartboard when the time comes.
3. A section of the board reserved for “student stars” will allow me to write down and call out any
students who are well-prepared and following directions, which will signal other students to
transition efficiently.
4. Timers will be broadcast on the smartboard during activities to let students know how much time
they must complete each step of the process.
5. I will use proximity control throughout the lesson to ensure students stay on task.

Provisions for Student Learning: This lesson gets students engaged in a bit of kinesthetic learning
through a “voting with feet” activity. Multimodal learning increases the effectiveness of a lesson.
Students will be prompted on when to take notes and will be asked check for understanding questions
periodically to keep them on task. Students will also be guided through drawing Oedipus’ family tree as
a way of engaging visual learners.

Procedures

Introductory / Developmental Activities

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 • Warm-Up (5 minutes): The warmup prompt will be broadcast on the Smartboard, along with the
day’s agenda and objectives.
o Prompt: On a piece of paper, rate each of the following statements (1 = strongly disagree,
5= strongly agree). For each rating, write a sentence or two explaining your reasoning.
▪ It is possible to avoid one’s fate or destiny.
▪ It is okay to break the law if the law is unjust.
▪ Your loyalty to your family should be stronger than your loyalty to your country.
▪ A leader should focus on maintaining control, even if that means they will be
disliked.
▪ Divine or universal laws are more important than the laws of human society.
▪ We should forgive those who betray us.
• Voting with our feet (8 minutes): After the timer goes off, the teacher will explain the directions
for the next assignment. The teacher will read off each statement. Students will move to the side
of the room representing their opinion. Two or three students (in different places in the room)
will share their reasoning for each round.
• Bridge - Reading the Objective (2 minutes): Students will return to their seats. The teacher will
ask a student volunteer to read the objectives.

Guided Practice and Independent Tasks

• Legend of Oedipus Review (15 minutes total): The teacher will lead a lesson on Oedipus’ story,
with multiple opportunities for “turn and talk” activities.
• Table Talk (5 minutes): The teacher will instruct students to pull out their “Primer on Greek
Drama” from the day before. They will appoint one person in their group to write down their
answers to the table talk activity on a blank sheet of paper. The prompt is:
o Identify 3 elements of Greek tragedy we see in Oedipus’ story.
Use the “Primer on Greek Drama” to review.
• Oedipus Family Tree (5 minutes total): The teacher will draw the relationships between the
characters in Oedipus Rex and Antigone. Students will be prompted to write this information
down in a notebook.
• Signing out books (5 minutes): The teacher will invite one student per table to grab copies of
Antigone for their group. She will then call names and ask students to recite their book number
so she can record this information in a register.
• Closure (5 minutes): The teacher will pass out the homework, which is to complete the short
answer questions for Oedipus (Appendix B) and to preview Antigone’s prologue and parados. It
will be acted out in class the next day.

Adaptations:

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 • Laptops and assistive technology: Students who have dyslexia or dysgraphia will be able to use
laptops and speech to text during writing activities.
• Audiobook/screen reader: Commonlit has a built-in screen reader for students to listen to the
Oedipus story for homework. Commonlit also allows students to change the size of the text for
the visually impaired.

Assessment:

Formative assessment: Turn and talk and table talk activities help the teacher measure student
understanding of Oedipus’ story and their ability to apply the concepts from last session

Summative assessment: Students will take a take-home short answer quiz on Oedipus’ story.

Review/Reinforcement (Homework): Students will complete the following:

1. Oedipus Short Answer Take-Home Quiz.

2. Preview Antigone’s prologue and parados.

9
Lesson 3
Name: Chelsea Byrne Subject and Grade: English 10

Unit: Antigone Time Allotted: 50 Minutes

Lesson Topic: Types of Conflict in Antigone

Context for Learning: This lesson is the third in a series on Ancient Greek drama. In this lesson, students
will learn about the different types of conflict in literature by analyzing the prologue of Antigone.
Students will identify elements of Greek drama in Antigone and connections to “The Legend of Oedipus”
as they read.

The classroom also has a smartboard, and each student is assigned a Chromebook. Assignments are
given as pen and paper exercises or delivered via Google classroom and Commonlit. Students sit with
their cooperative base groups at tables of four.

Curriculum and SPA Standards Addressed:

From the Maryland College and Career Ready (Common Core) Standards (n.d.):

• CCSS.ELA.RL.9-10.3 Analyze how complex characters (e.g., those with multiple or conflicting
motivations) develop over the course of a text, interact with other characters, and advance the plot or
develop the theme.
• CCSS.ELA.RL.9-10.5 Analyze how an author's choices concerning how to structure a text, order events
within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery,
tension, or surprise.

National Council of Teachers of English Standard (1996):

• Standard 2: Students read a wide range of literature from many periods in many genres to build
an understanding of the many dimensions (e.g., philosophical, ethical, aesthetic) of human
experience.

Objectives (observable and measurable):

Students will identify at least 4 different conflicts in Antigone.

Students will analyze how conflict impacts the creation of tension and suspense in the play.

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Materials:

• Class set of Antigone (Fitts and Fitzgerald for college prep level; Fagles for honors classes)
• Access to Nearpod Presentation – Conflict: https://app.nearpod.com/?pin=9CG6T
• Student smartphones
• Teacher computer or laptop connected to the Smartboard
• Smartboard
• Whiteboard and dry erase markers
• Paper
• Pens/Pencils

Proactive Behavior Management:

1. At the beginning of the year, students will have negotiated a class list of discussion rules and
behavioral expectations, written on a giant sticky posted in a prominent part of the room.
2. The day’s objective, agenda, and bell-ringer instructions would be posted on the board as
students are walking in. Students will pick up their English journals, which are stacked on a table
by the door, as they walk in and sit down to their independent work. Group work instructions will
be clearly posted on the smartboard when the time comes.
3. A section of the board reserved for “student stars” will allow me to write down and call out any
students who are well-prepared and following directions, which will signal other students to
transition efficiently.
4. Timers will be broadcast on the smartboard during activities to let students know how much time
they must complete each step of the process.
5. I will use proximity control throughout the lesson to ensure students stay on task.

Provisions for Student Learning: This lesson uses Nearpod to keep students on task and on pace in the
lesson. It also allows students to practice as they go. The opportunity to act also engages students in
Antigone as it was meant to be performed. Seeing the scene performed, or engaging in the kinesthetic
experience of performing, adds some fun to instruction while highlighting the conflict embedded in the
scene. This will make it easier for students to identify the different types of conflict since they can see it
unfold rather than merely guess at the meaning of the text.

Procedures

Introductory / Developmental Activities

• Warm-Up (8 minutes): Students will write a quick journal entry in their notebooks to the
following prompt: Write about a time you had a conflict. What was the nature of the conflict?
How was the conflict resolved?
o After the 5-minute timer goes off, at least 3 students will have the opportunity to share
their ideas. Students must share their journal ideas aloud twice per quarter, and the
11
 teacher will keep track of who has yet to share for that period by asking students who
share to add a star sticker to the paper tracker at the back of the class.
o Two student volunteers will collect the journals and add them to the designated spot on
the front table.
• Bridge - Reading the Objective (2 minutes): Students will return to their seats. The teacher will
ask a student volunteer to read the objectives.

Guided Practice and Independent Tasks

• Conflict Mini-Lesson (10 minutes): The teacher will walk through the Nearpod interactive lesson
on conflict, prompting students to consider what types of conflict they may encounter in
Antigone. During the lesson, they will write a few open-ended responses and complete a
matching activity to check their understanding of conflict. At the end of the activity, students will
be directed to put their phones away and pull their copies of Antigone out for a dramatic
reading.
• Acting Out Antigone (10 minutes): The teacher will call on four (4) student volunteers to perform
as Antigone, Ismene, the chorus, and the chorus leader in the prologue and parados. The class
will listen and watch the performance. If the actors onstage aren’t as dramatic as they could be
the teacher will demonstrate how to make their tone more obvious and how to add more flair.
o Discussion: As the actors read, the teacher will pause from time to time to ask students to
paraphrase what they heard. This will help them monitor their understanding and identify
early conflicts.
• Close Reading – Parados (10 minutes): During the parados, the teacher will point out the
structure of the strophes and antistrophes on the whiteboard and provide additional historical
context to understand the allusions in this section.
• Identifying Conflict in Antigone (7 minutes): After the reading, the teacher will direct each table
group to create a matrix like the one below to document four (4) conflicts in Antigone.
Representatives from each group will turn in their matrix to the teacher on their way out.
o Sample Matrix

Internal Conflict External Conflict

Character vs self - Ismene is caught
between her loyalty to her family and the
city-state.
Character vs self - Antigone is deliberating
whether to disobey Creon’s law to honor
her brother or to let it go. She decides to
disobey.
o
Character vs Character - Antigone tries to
get Ismene to be her accomplice but
Ismene refuses.
Character vs Society – Antigone disobeys
Creon’s law against Polyneices because
she believes it is morally wrong.

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 • Closure (3 minutes): The teacher will introduce the homework, which is to read the next scene in
Antigone (Scene 1 and Ode 1). They will also have a short quiz on elements of Greek drama the
next day, so they should brush up on their terms using the “Primer on Greek Drama.”

Adaptations:

• Laptops and assistive technology: Students who have dyslexia or dysgraphia will be able to use
laptops and speech to text during writing activities.
• Nearpod: The interactive activities in Nearpod ensure students who have attention and
processing issues can find their place in the lesson to stay on pace.

Assessment:

Formative assessment: The Nearpod activities and conflict matrix will show student understanding of
conflict (both in an individual and group context).

Summative assessment (next class): Students will take a short quiz in lesson 4 on their understanding of
the elements of Greek drama. Now, they have seen almost all the elements in practice, so the true/false
quiz should be simple to follow.

Review/Reinforcement (Homework): Students will complete the following:

1. Read Antigone Scene 1 and Ode 1.

2. Study a “Primer on Greek Drama” for tomorrow’s quiz

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Lesson 4
Name: Chelsea Byrne Subject and Grade: English 10

Unit: Antigone Time Allotted: 50 Minutes

Lesson Topic: Irony in Antigone

Context for Learning: This lesson is the fourth in a series on Ancient Greek drama. In this lesson,
students will learn about the 3 types of irony by analyzing Scene 1 and Ode 1 of Antigone. Students will
also demonstrate their understanding of the elements of Greek drama in a quiz near the start of class.

The classroom also has a smartboard, and each student is assigned a Chromebook. Assignments are
given as pen and paper exercises or delivered via Google classroom. Students sit with their cooperative
base groups at tables of four.

Curriculum and SPA Standards Addressed:

From the Maryland College and Career Ready (Common Core) Standards (n.d.):

• CCSS.RL.9-10.4 Determine the meaning of words and phrases as they are used in the text,
including figurative and connotative meanings; analyze the cumulative impact of specific word
choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it
sets a formal or informal tone).
• CCSS.RL.9-10.5 Analyze how an author's choices concerning how to structure a text, order events
within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as
mystery, tension, or surprise.

National Council of Teachers of English Standard (1996):

• Standard 3: Students apply a wide range of strategies to comprehend, interpret, evaluate, and
appreciate texts. They draw on their prior experience, their interactions with other readers and
writers, their knowledge of word meaning and of other texts, their word identification strategies,
and their understanding of textual features (e.g., sound-letter correspondence, sentence
structure, context, graphics).

Objectives (observable and measurable):

Students will identify and analyze examples of the 3 types of irony in Antigone.

Materials:

14
 • Class set of Antigone (Fitts and Fitzgerald for college prep level; Fagles for honors classes)
• Access to Google forms “Elements of Greek Drama” quiz: https://forms.gle/xRx2449KQiRewZgv5
• 3 types of irony Kahoot: https://create.kahoot.it/share/3-types-of-irony/e3089bf4-1a80-45c3-
b8ab-3b5df1bdba1f
• Copies of Dramatic Performance Assignment and Rubric (Appendix C), added to Google
Classroom
• Class set of student laptops
• Teacher computer or laptop connected to the Smartboard
• Smartboard
• Whiteboard and dry erase markers
• Paper
• Pens/Pencils

Proactive Behavior Management:

1. At the beginning of the year, students will have negotiated a class list of discussion rules and
behavioral expectations, written on a giant sticky posted in a prominent part of the room.
2. The day’s objective, agenda, and bell-ringer instructions would be posted on the board as
students are walking in. Students will pick up their English journals, which are stacked on a table
by the door, as they walk in and sit down to their independent work. Group work instructions will
be clearly posted on the smartboard when the time comes.
3. A section of the board reserved for “student stars” will allow me to write down and call out any
students who are well-prepared and following directions, which will signal other students to
transition efficiently.
4. Timers will be broadcast on the smartboard during activities to let students know how much time
they must complete each step of the process.
5. I will use proximity control throughout the lesson to ensure students stay on task.

Provisions for Student Learning: Students will be cued to pull out to put away any devices they use to
complete the day’s activities. The use of Google Forms for delivering a quiz allows immediate feedback
for students and quick collection of student performance data for the teacher to adjust the lesson and
reteach the topic if necessary. The Kahoot is designed to increase student engagement by gamifying
practice.

Procedures

Introductory / Developmental Activities

• Do-Now (3 minutes): Students will walk in to read the Smartboard, which instructs them to
review their notes on the elements of Greek drama. The teacher will solicit last minute questions,
and then dismiss students by table to get their laptops.

15
 • Elements of Greek Drama Quiz (10 minutes): Students will complete the Google Forms quiz that
has been added to Google Classroom. After they are done, students are instructed to close their
laptops and put them bac
• Bridge - Reading the Objective (2 minutes): The teacher will ask a student volunteer to read the
objective.

Guided Practice and Independent Tasks

• Irony Mini-Lesson (10 minutes): The teacher will walk through the three types of irony in a mini
lesson via the white board.
o Irony: occurs when there is a mismatch between expectation or appearance and reality
o Verbal Irony: When a character says something but means the opposite.
▪ Ex. You get caught in a rainstorm and say “Ah, what lovely weather to walk home
in.”
▪ Sarcasm is a type of verbal irony, except that sarcasm is meant to be mocking or
insulting toward something.
• Ex of sarcasm: realizing your umbrella is too small, you say “Great choice
for an umbrella.”
o Dramatic Irony: When the audience knows something that the characters in the story do
not.
▪ Ex. In Romeo and Juliet, Romeo sees Juliet lying motionless in a crypt, believing
she is dead, but the audience knows she has simply taken a sleeping drug.
o Situational irony: when the outcome of a situation is opposite of what we expected to
happen
▪ Ex. The department of sanitation has a rat infestation.
• 3 Types of Irony Kahoot (5 minutes): The teacher will display the passcode for the 3 types of
irony Kahoot on the board. Students can join the game with their phones and play along to
practice their grasp of irony. After the activity, students will be instructed to put away their
phones and open their copies of Antigone.
• Identifying Irony in Antigone (10 minutes): The teacher will guide the class through identifying
examples of verbal, situational, and dramatic irony in Antigone.
o Situational Irony in Antigone: Creon withholds burial from one of his nephews but not
the other. The princess has defied the king and her uncle.
o Dramatic Irony in Antigone: We know Antigone buried Polyneices, but Creon has no idea.
o Verbal Irony in Antigone: Antigone says Creon is a “worthy king,” but she doesn’t really
mean it.
• Closure (3 minutes): The teacher will introduce the homework, which is to read the next scene in
Antigone (Scene 2 and Ode 2). They will also be instructed to look forward in the text and choose
3 characters they would like to audition for a role in a group scene performance, which will be
the culminating assignment for the unit. Students will have to read a monologue for each of their
16
 chosen characters and record it on Flipgrid. The due date for the auditions is a week from the
current say. They will be reminded of this homework assignment every class from now until the
due date.

Adaptations:

• Laptops and assistive technology: Students who have dyslexia or dysgraphia will be able to use
laptops and speech to text during writing activities.
• Kahoot: The interactive activities in Kahoot ensure students who have attention and processing
issues can find their place in the lesson to stay on pace. The visual modality also increases
engagement for these individuals.

Assessment:

Formative assessment: The Kahoot will function as a formative assessment to measure students’ grasp
of identifying irony.

Summative assessment: Students will take the “Elements of Greek Drama Quiz” to measure their
understanding of dramatic elements taught in the last few classes.

Review/Reinforcement (Homework): Students will complete the following:

1. Read Antigone Scene 2 and Ode 2.

2. Choose 3 characters to audition for
3. Record themselves performing a dramatic reading of each of their 3 monologues to Flipgrid, due
a week from today.

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 Reflection

Overall, I feel that my lesson plans and delivery showed my ability to plan, teach, and assess

meets or exceeds the requirements of the CPAST rubric. My years of experience have given me quite a

few strengths. My strengths include my abilities to (1) provide multiple assessment opportunities at

varying levels for continued planning and instruction, (2) integrate appropriate technology tools that

served the purpose of the lesson and fostered student engagement, and (3) create clearly defined and

measurable objectives that align with standards. These practices came second nature to me to show a

smooth execution of each lesson plan.

I do recognize two key places in the rubric for my continued growth as an educator. First, I would

like to increase my ability to actively involve learners to create a safe and respectful learning

environment. Truthfully, I feel I actively involve learners in my current one-on-one teaching position, but

I recognize that this aspect of classroom management becomes much harder with 25 or more students

in a room. When I complete my internship, I will address this issue by giving students roles, from passing

out papers to leading seminar-style discussions, which should give them autonomy, ownership, and

responsibility for maintaining a positive classroom community. The second area of growth I recognize is

my ability to use research to explain student progress. Due to the time constraints of the project and my

current duties as work, I did not have the bandwidth to focus on the theoretical underpinnings of my

lesson. Next time, I will focus on implementing Bloom’s or Anderson’s taxonomy in devising my checks

for understanding so I can see what level of rigor my students are performing.

In terms of my researching and lesson planning process, I took a tried-and-true approach: work

smarter, not harder. I have a rather grueling workload this semester at work (teaching English 6 and 8-

12, plus Study Skills, World History, Government, Psychology, and Test Prep), so instead of writing new

lessons, I used this project as am opportunity to revamp lessons I have already taught. I used technology

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tools I had some degree of familiarity with and adapted these tools to the needs of a larger classroom.

For example, I’ve used Google Forms in the past to gather feedback from students about what material

they would like to study. In my lessons here, I use Google Forms to cut down on grading to give students

automatic feedback. Similarly, I used Padlet before as a participant in a professional development

course, so I saw its applications in the classroom in creating an interactive KWL chart that can be

updated in real-time. I aimed to integrate technology in such a way that it makes my life, and my

students’ lives, easier. We all have a lot to juggle, so the more I can automate cumbersome processes,

the better it will be for the whole class.

In all, I am confident in my ability to plan and execute lessons for a larger class. My recorded

lessons appeared effective, though I have yet to test them with a full classroom. Through this unit plan

project and from my experience at current and past teaching positions, I see that I can handle any type

of lesson planning. I can crank out an hour-long lesson in 10 minutes (which is how I currently get paid

for planning) so I can keep my process bare bones in a pinch, or I can expand my lesson planning at

length as in this assignment. It has been a while since I have been in a large group setting, so my biggest

area of growth in my internship will be in using motivation strategies, routines, and procedures to

manage classroom behavior. I look forward to applying my learning to classroom practice.

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 References

Maryland State Department of Education. (n.d.). Maryland college and career-ready standards for

English language arts: Middle school (6-8).

https://mdk12.msde.maryland.gov/INSTRUCTION/StandardsandFrameworks/ela/SiteAssets/Ho

mePage/MCCRS%20Middle%20School%20(6-8)%20(2).pdf

National Council of Teachers of English. (1996). Standards for the English language arts.

https://cdn.ncte.org/nctefiles/resources/books/sample/standardsdoc.pdf

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 Appendix A

Primer on Greek Drama

Origins
Greek theaters evolved from songs called
dithyrambs. When one actor, Thespis, began
acting out the roles instead of singing them,
drama was born. This is why we call actors
Thespians today.

Greek plays evolved to have as many as three

(3) actors onstage plus the choragos (chorus
leader), the chorus, and musicians. Actors would
switch roles using exaggerated masks that showed the faces of different characters.

The City Dionysia Festival

The ancient Athenians would hold a yearly festival to the Greek god of wine and
merrymaking Dionysus. This festival was called the City Dionysia and featured a
playwriting competition. Playwrights would submit a series of 3 connected tragedies and
a comical satyr play. All Athenians (men, women, children, citizens and slaves) were
expected to attend, but only men could vote on the best play of the festival.

Elements of Greek Tragedy

Tragedy is defined by Aristotle as “an imitation of an action that is serious, complete, and
of a certain magnitude…through pity and fear effecting the proper purgation of these
emotions.” Tragedy usually centers around a hero who is admirable and good but has a
tragic flaw, or hamartia, that leads them to their downfall. Often, this flaw will be hubris,
or excessive pride. The hero always undergoes a reversal of fortune, known to the Greeks
as their peripeteia. The hero at last will experience anagnorisis, a realization of their
error, but it will be too late to reverse course. As a result of watching the hero’s fall, the
audience will feel pity and fear which will be released or purged in a catharsis.

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Anatomy of the Greek Stage
Amphitheater – the entire stage and seating
area

Theatron – the sloping seats in a half funnel

shape where the audience sat.

Parodos – two aisles by which the chorus

entered the orchestra

Orchestra – the lowest area of the

amphitheater where the musicians and
chorus stayed throughout the play

Skene – the stage area where the main actors and choragos would be found.

Structure of a Greek Play

Scenes – basic unit in a play depicting a single setting and key event in time

Ode – lyric poem sung by the chorus marked by serious, respectful, and exalted feelings
toward the subject, includes strophes and antistrophes

Strophe – first stanza of a choral ode that sets a new topic; always appears first in the ode

Antistrophe – next stanza of the choral ode that answers, counters, or elaborates on the
strophe

Prologue – the opening scene in a Greek play

Exodus – the departure or end of the play

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 Appendix B

Oedipus Short Answer Questions

Directions: Answer the questions below using 1-2 complete sentences per question.

1. What did the Oracle of Delphi prophesize would happen to Oedipus? (2 points)

2. How did Oedipus become king of Thebes? (3 points)

3. Why does a plague befall Thebes, and how does Oedipus try to fix this problem? (2 points)

4. What happens to Oedipus and Jocasta when they find out about their incestuous relationship? (3 points)

5. Draw a family tree showing how the following characters are related: Oedipus, Ismene, Creon, Polyneices,
Jocasta, Eteocles, Eurydice, Haemon, Antigone. Please indicate marriages/engagements, siblings, and
parent/child relationships. (7 points)

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 Appendix C

Antigone Dramatic Performance Assessment

During our drama unit, we will be reading the play Antigone by Sophocles to explore Greek tragedy. However, plays are not just meant to be read; they are
to be performed and experienced. At the end of our Antigone unit, you will perform a scene from the play in collaboration with a group. This project will
require long term planning, collaboration, and application of procedural skills. The steps in the project are as follows:

1. Auditions
2. Creating a production calendar
3. Character analysis and mask making
4. Scene blocking
5. Rehearsal
6. Performance
7. Reflection

You will also be expected to select/create costumes and use props to create a set. I understand that you may not have unlimited funds, so please ask for my
assistance if you need help or advice for this aspect of production.

Please note the areas of the project that are graded individually and by group. If there is a problem with your group’s ability to collaborate (such as an
uncooperative teammate, inconsistent attendance, disrespectful attitudes, etc.), I expect you to be proactive in communicating to resolve the issue. If you
cannot resolve the issue with your own efforts, please communicate with me to set up a mediation meeting.

Your final performance will be graded according to the rubric on the following page.

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Dramatic Performance Rubric
Exemplary - 4
Body and Uses a variety of blocking
Movement techniques to add interest
(individual) to the scene.
Movement appears natural
and matches the lines as
the actions unfold.
Gestures and facial
expressions are purposeful,
clear, and true to
character.
Voice and Articulation is clear.
Lines Projects voice so that all in
(individual) the audience can hear
while allowing for variation
in volume to evoke
emotion.
Tempo and rhythm of
speech are varied to reveal
and evoke emotion.
Lines are memorized but
delivery is fluid and
natural.
Character Stays in character
Development throughout the whole
and Focus performance.
(individual)
Strong - 3
Uses blocking techniques
to add interest to the
scene.
Movement appears
somewhat natural and
matches the lines as the
actions unfold.
Gestures and facial
expressions are true to
character but
overexaggerated or
unclear in purpose.
Articulation is mostly
clear; only 1-2 words are
unclear.
Projects voice so that most
in the audience can hear
while allowing for some
variation in volume to
evoke emotion.
Tempo and rhythm of
speech are varied to reveal
and evoke emotion.
Lines are mostly
memorized, and any
fumbles do not detract
from the scene. Delivery
may be stiff.
Stays in character
throughout most of the
performance.
One or two breaks in focus
during any mistakes in
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Proficient - 2
Uses some blocking
techniques to add some
interest to the scene.
Movement is stiff at times
and sometimes matches
the lines as the actions
unfold.
Gestures and facial
expressions are basic and
may be overexaggerated
or unclear in purpose.
Articulation is somewhat
clear; a few words are
misspoken or unclear.
Projects voice so that most
in the audience can hear.
Does not vary projection
to evoke emotion.
Tempo and rhythm of
speech show minor
variation to reveal and
evoke emotion.
Lines are partially
memorized. Some fumbles
detract from the scene,
but actor makes a
recovery. Delivery may be
stiff.
Stays in character
throughout some of the
performance.
Multiple breaks in focus
during any mistakes in
Emerging - 1
Uses little to no blocking
toad interest to the scene.
Movement is often stiff
and often does not match
the lines.
Gestures and facial
expressions are absent or
unclear.
Articulation is unclear and
many words misspoken or
unclear.
Does not project voice so
that all of the audience
can hear.
Tempo and rhythm of
speech do not vary.
Lines are not memorized.
Many fumbles detract
from the scene and
recovery is inadequate.
Does not stay in character
during most of the
performance.
Multiple breaks in focus
during any mistakes in
 Focuses past any mistakes
in cues or mishaps with the
set/choreography.
Analysis of the character
matches the text.
Boldly embodies a unique
interpretation of the
character based on
inference from the text
and directorial purpose.
Set and Set is constructed
Details creatively to immerse the
(group) audience in time and place
of the scene.
Stage is uncluttered.
Placement and use of
props is consistent and
intentional.
Costuming is detailed and
precise, matching the
characters and the scene.
Ensemble Group works together to
and create a cohesive
Collaboration production.
(group) Engages in pro-social
behavior (helping, sharing,
offering support, etc.)
consistently.
Group is responsive to
each other in set up, during
cues or mishaps, recovers
quickly.
Analysis of the character
mostly matches the text.
Embodies a unique
interpretation of the
character based on
inference from the text.
Only adds a little
directorial spin on
character.
Set is constructed
creatively to reveal time
and place, though it may
not be immersive.
Stage has some
background elements and
props, but may be
cluttered or sparse.
Placement and use of
props is mostly
intentional.
Costuming is appropriate
to the characters and the
scene and includes some
attention to detail.
Group works together to
create a cohesive
production, but may
include some lone wolf
elements.
Engages in pro-social
behavior (helping, sharing,
offering support, etc.)
most of the time.
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cues or mishaps; some
difficulty recovering.
Analysis of the character
somewhat matches the
text.
Embodies an
interpretation of the
character based directly
on the text. Does not
include a unique spin.
Set construction reveals
time and place with basic
elements.
Stage has a few
background elements and
props, or is overcluttered.
Placement and use of
props is haphazard.
Costuming is basic, but
remains appropriate to the
characters and the scene.
Group works somewhat
collaboratively in
production, but may
include lone wolf elements
or lapses in cohesion.
Engages in pro-social
behavior (helping, sharing,
offering support, etc.) part
of the time.Group is
cues or mishaps; little
attempt at recovery.
Analysis of the character
does not match the text.
Embodies an
interpretation of the
character based only
superficially on the text.
Does not include a unique
spin.
Set construction is
confusing and does not
clearly establish time and
place.
Stage has very few or
background elements and
props.
Costuming is inadequate,
incomplete, or
inappropriate to the
characters and the scene.
Group works does not
work collaboratively to
create a cohesive
production
Engages in pro-social
behavior (helping, sharing,
offering support, etc.) in a
limited capacity.
the performance, and in Group is mostly responsive somewhat responsive to Group is often responsive
take-down. Group uses to each other in set up, each other in set up, to each other in set up,
communication and during the performance, during the performance, during the performance,
maintains respect to and in take-down. Group and in take-down. Group and in take-down. These
organize performance has one or two lapses in has some lapses in processes are chaotic.
effort. communication though communication though Group has many lapses in
maintains respect to maintains respect to communication and
organize performance organize performance struggled to maintain
effort. effort. respect. Performance
effort is disorganized.

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