CSET SUBTEST III (CLIFFNOTES)

(Play and sing with movement) Primary school children love to play and sing with movement in the simple sing-along dances of London Bridge, Hokey Pokey, Ring Around the Rosie, BINGO, The Farmer in the Dell, Skip to my Lou.

Line

-A continuous mark that can change direction, length, and width. Lines joined together form a shape. Line can also create an outline, silhouette, or contour. Artists often use line to define the edges of a form to lead your eye in a certain direction. Lines can be real or implied, and their possibilities are endless (e.g., straight, curved, jagged, diagonal, horizontal, vertical, parallel, etc.). -Horizontal lines can suggest a state of rest, continuity, and stability since objects that are parallel to the earth are often at rest. Horizontal lines can also give a sense of space -Vertical lines communicate a sense of strength, rigidity, or height, and artists often use vertical lines to suggest spirituality, or reaching toward the sky. -Diagonal lines often communicate an opposition or movement, while curved lines communicate a sensual or softening quality

Satyr Play

-A form of Greek drama that coexisted with tragedy in the classical period -Little is known of the satyr play except that it seems to have been a burlesque of the same ideas presented in tragedies, ridiculing the gods and heroic legends, using the bawdiest language, dance, and song to do it

Creative Drama

-A form of entertainment in which students improvise scenes for their own growth and edification, not that of an audience -In some cases, the aim of creative drama is to learn subjects other than theatre (history, psychology, literature, and so on); in others, it is to learn about theatre itself

Revolving Stage

-A portion of the stage constructed so that it rotates around a pivot -Such a stage can be used in a number of ways, the most frequent being to change settings; the downstage scenery rotates out of sight, revealing scenery that had previously been set upstage

Full-Length PlAY

-A single play that typically fulfills the expectation for a complete theatrical experience -In the Western tradition, this means one play of 3 to 5 acts, usually filling 2 to 4 hours

Ancient Greek Theatre (600-400 BC)

-Amphitheatres (open air; on the sides of mountains; semicircular; orchestra [area in front of the stage]; chorus/dance and music; auditorium; simple scenery -Playwrights: Sophocles (tragedy: heroes glorified but with a tragic flaw, influence of gods) and Euripides -Violence took place off stage (true through to the Eliabethan age) -Thespis was the first actor -Dionysus Festivals (tragedies/comedies/satire); plots came from legends -Influence of central actors and dialogue; masks were used to show age and emotion -Women were barred from acting but could be spectators -Greek tragedy was not associated with theatre staging today (it was part of a trilogy)

Pastoral Play

-An extinct genre of play, popular during the Italian Renaissance, which is set in a countryside populated by nymhps, satyrs, shepherds, shepherdesses, and wandering knights -Persistently upbeat in tone, the pastoral play existed chiefly to give courtiers a chance to indulge a taste for dressing up as peasants, singing, and dancing -The pastoral play may have been the Renaissance's attempt to recapture the Greek satyr play

Perspective: Atmospheric or Aerial

-Atmospheric perspective is used to create depth and dimension -Artists use overlapping, color, size, and contrast to reproduce the effects of distant objects Example: Darker objects appear to be closer when using lighter and duller colors for distant objects. In a landscape, lighter objects lose focus and clarity as they appear farther away. PRINCIPLE OF ART

Balance: symmetrical and asymmetrical

-Balance is a sense of visual stability in a composition -It is the harmonious arrangement of elements in order to create a feeling of equilibrium -When a composition is symmetrical, it gives the feeling that weight is equally distributed ---This is called formal balance since this is a classical appearance of formality -When a composition is asymmetrical, there is a visual emphasis, or pull, to one side of the composition ---This is sometimes called informal balance Example: Think about a seesaw or scales. When the seesaw is equally weighted, it is symmetrical. When the seesaw is not weighted equally, it is asymmetrical. PRINCIPLE OF ART

Cardio-Respiratory (Aerobic)

-Cardio-respiratory endurance is the ability of the heart, blood vessels, and respiratory system to sustain work by delivering oxygen and nutrients to the tissues of the body over a period of time -To develop this endurance, activities must be aerobic. -During aerobic activity, there is an integrated functional capacity of the heart and lungs, the vascular system, and the muscles to expend energy as the oxygen in the body is given maximum oxygen uptake. -If a child is having difficulty during an aerobic fitness activity, the teacher should stop the activity when the child is out of breath. This is a sign that the aerobic activity is causing cardio-respiratory system to reach maximum oxygen uptake PHYSICAL FITNESS COMPONENT

Describe and Give Examples of How to Perform Catching

-Catching involves using the hands to stop and control a moving object. During the early stages of learning, it's more difficult for children to learn to catch than to throw because tracking the object requires mature hand-eye coordination -Children often fear being hit by the object, so early instruction can begin with beach balls, balloons, and fleece balls -As children develop gross and fine motor abilities, instruction should include reducing the size of the objects to catch. This helps children develop perceptual abilities -Instruction should include practice in catching balls that bounce up from the floor to teach rebound angles

18th Century Theatre

-Changes in economics, society, and ruling powers determined direction of playwrights -Acting began to more closely mimic life -Art of acting became prominent -Plays more often dealt with ordinary people -Commercial theatre evolved

Restoration Comedy

-Characteristic comedy of the period known as the English Restoration (1660-1700) -Restoration comedy is known for its glittering language, salacious plots, and frequently debauched characters

Religious or Ceremonial Dance -Choreography played a significant role in many cultural events throughout history -The origins of dance show that dance was created and performed in celebrations, rituals, and rites of passage -Many cultures consider dance a universal spiritual language Example: Native Americans have expressed mourning the spirit in dance movement. They have also used dance as a ritual to prepare for battles and to celebrate joyful occasions.

-Choreography played a significant role in many cultural events throughout history -The origins of dance show that dance was created and performed in celebrations, rituals, and rites of passage -Many cultures consider dance a universal spiritual language Example: Native Americans have expressed mourning the spirit in dance movement. They have also used dance as a ritual to prepare for battles and to celebrate joyful occasions.

Flexibility

-Flexibility is the movement in which joints and muscles move through a full range of motion -Being flexible helps the student to retain full range of movement, prevent injury from fitness activities, and improve posture. These are the reasons that stretching should be an integral part of daily warm-up activities PHYSICAL FITNESS COMPONENT

Describe and Give Examples of How to Perform Galloping (Instructional Techniques)

-Galloping is a forward directional movement. As the lead foot steps forward, the back foot steps up to meet the lead foot -Galloping movements can be taught by having the class hold hands and slide in a circle to a rhythmic beat. Shift this movement into having the children face the direction of the movement while continuing to slide. Alternate between large and small gallops

Muscle Strengthening Activities

-Have students participate in a relay race, performing different physical activities for each leg of the race. For example, in the first leg, have all students do bear crawls down and back. On the second leg, students perform the crab walk. Have students complete at least four legs of the relay, choosing activities that build leg and arm strength, such as lunges, side squats, hopping, seal walk and the wheel barrow with partners. -Have the class line up on one end of the gym. When you say green light, they run. When you say red light, they stop and perform an exercise to increase their muscular strength. Squats, pushups and situps are all effective exercises. Play this game multiple times. -Divide the class into six groups and set up six stations around the gym. Each station is marked with an exercise, such as squats, lunges, jumping, the bear crawl, pushups and situps. Have each group start at a different station. Once the exercise is completed at the first station, students move to the next. Each student must perform all the exercises.

Why Should Stretching Be Part of Daily Warm-Up Activities?

-Improves flexibility -Being flexible helps the student to retain full range of movement, prevent injury from fitness activities, and improve posture

Restoration England: 1660s

-In 1642, Parliament closed theatres in England; these closings allowed French ascendancy in theatre mechanics -Theatre architecture: France introduced new technology for scenery and set changes; artificial lighting; theatres begin to be roofed in; drama moved indoors, and the stage was raised above the audience -Proscenium stage architecture/royal theatre (enclosed/arches); scene changes slid by on panels -Baroque period: French playwrights Racine and Molière influenced theatre -Women began to appear onstage in the roles of boys and young men

Vomitoria

-In Roman theatre, the vomitoria were the tunnels that allowed the audience to enter and exit the large theatres with ease -In contemporary theatres, the vomitoria ("voms" for short) are the tunnels that allow the actors to reach the downstage portions of a thrust stage by passing through the audience

Aristotelian Theatre

-In general, the traditional theatre thought to be espoused by Aristotle -It includes clear, simple plotting; strong (but not necessarily complicated) characters; high levels of intellectual content; and a minimum of spectacle -In the Renaissance, other criteria were added to these, some native to Aristotle, some imposed through fancied symmetry: ---Plays should include the 3 unities (unity of one main action, unity of one physical space, and unity of time) ---Plays should be written in five acts ---Plays should avoid violence ---Plays should not mix comedy and tragedy

19th Century Theatre

-Industrial Revolution changed the way people lived -Technology changed theatre (gas lighting was changed to electrical, mechanisms were created from changing scenery) -Growth of melodrama -Actors predominated over the author, but playwrights Shaw, Ibsen, and Chekhov stook out; serious drama -19th century in the US (playhouses in major cities, resident companies; touring actors, influence of melodrama, minstrels) -Late 1880s to 1920s in the US; Golden Age of American theatre (420 touring companies); mass appeal; more sophisticated plots and staging; moving away from hero character; vaudeville

Abstract Dance

-It's the art of pure movement -The choreography of abstract dance does not show a narrative story like other forms of dance

Describe and Give Examples of How to Perform Jumping (Instructional Techniques)

-Jumping creates activity-specific muscle strength and agility -Jumping requires the body to leap with both feet and to land with both feet. Arms can be used to create an upward momentum and then to create a downward motion that helps balance the landing. Knees bend at the landing to act as shock absorbers. The order of impact is usually the balls of the feet followed by the heels. Ask children to "jump and touch the ceiling." -Jumping incorporated into primary-grade activities helps children create patterns (e.g., jumping like a kangaroo, a frog, and a rabbit). Jumping incorporated into upper-level grades can be used in combination with sports and athletic activities (e.g., warm-up activities, gymnastics, basketball, etc.)

Describe and Give Examples of How to Perform Kicking

-Kicking is a striking action performed by the feet -Teachers should know several types of kicking: 1.) Punt kicking is described as the ball being dropped from the hand and kicked before it touches the ground; 2.) Place kicking is described as placing the ball on the ground and kicking it from the stationary position; and 3.) Soccer kicking is a form of kicking that requires an extension of the hip to increase the range of motion -Instruction should include reducing the size of the projectile object as skill levels develop

Roman Theatre (300 B.C. - A.D. 500)

-Latin versions of Greek plays; less influenced by religion -Introduction of subplot -Women were allowed minor parts -Spectacles of the Coliseum -Mass appeal/impressive theatres -Raised stage replaced the Greek semicircular amphitheatre; the stage was built at ground level with a raised seating area -By the later Roman period, Christians disapproved of low comedy and pagan rituals

Perspective: Linear

-Linear perspective is a technique for representing three-dimensional objects on a flat surface -During the Renaissance, artists invented this technique based upon math principles in order to give paintings a realistic appearance -The technique shows that when converging lines meet at a single vanishing point, the human eye perceives objects at a distance -When our eyes focus on the vanishing point, all shapes and objects become smaller, giving us the illusion of depth and distance -Larger objects appear closer, and smaller objects appear more distant -The lines of buildings and objects are slanted to make them appear at a distance Example: In the Basilica di San Lorenzo (San Lorenzo Church) in Florence, Italy, notice that the design of this church was influenced by perspective. Notice the vanishing point at the end of the alter. PRINCIPLE OF ART

Stereotyped Character

-One based on the assumption that all members of a given group possess certain simple behavioral traits -Hence, a few swift strokes of character development (a dialect, a distinctive walk, a costume, and so on) suffice to communicate the stereotype to the audience -Contrasted with the "unique character," who shares nothing of consequence with any other person and whose life experiences have created a character that is, taken as a whole, entirely distinct from all others

Pattern (Art)

-Patterns are objects in a composition that are repeated. -Regular patterns appear as predicted designs with easily identifiable features so that the viewer can visually recognize what may appear next. When there's no exact predicted design, but the viewer can generally predict what may appear next, the artist is using random patterns. -Artists create patterns by repeating shapes, colors, or lines. -Ex: Monet uses patterns of water lilies floating on a point in his painting "Water Lilies" PRINCIPLE OF ART

Neoclassic Drama

-Plays of the neoclassic period, or plays modeled after them, in which Renaissance writers attempted to recapture the glory of theatre in ancient Greece and Rome -Particularly in 17th- and 18th-century France, this effort was aided by the application of certain rules of playwriting, such as the unities (action, place, time), the enforced use of rigid verse forms, and the general concern for "decorum" on the stage

Elizabethan Theatre

-Playwrights included Christopher Marlowe and Ben Johnson -Theatre was supported by Queen Elizabeth; patronage; raucous, open-air theatre; language of the educated; satire -William Shakespeare (late 1500s and early 1600s) write comedies, histories, and tragedies; Globe Theatre (open-air)

Describe and Give Examples of How to Perform Pushing

-Pushing is a controlled, forceful action performed against an object. It moves the body away from the object while applying force -Pushing should exert force with steady, even, and controlled effort. The student accomplishes this action by broadening and supporting the base of the body while placing the body in a forward stride position. -The line of force is directed toward a specific target -Teachers should instruct students to maintain a reasonable alignment in their back as the body build up force for the push

Renaissance and Reformation Theatre (1400-1600)

-Rebirth of classical Greek and Roman art, culture, and literature -Theatre reemerged with professional actors and set design -Open stages, "apron stage," to proscenium arch (framed and divided stage from the audience; painted sets and scenery) -Emphasis was on the performer -Protestant Reformation (moving away from Catholic teachings) led to secular works; Commedia dell'arte (improvisation; acting groups; situational comedy) -State licensed official theatre companies

Aerobic Activities

-Running -Jump Roping -Walking -Dancing

Shape (form and contour)

-Shape and form help to define objects on a piece of art -Shapes are often defined by a continuous line that meets to create a closed shape -Artists use contour line to create dimension -Shapes have two dimensions, height and width; and form has three dimensions, height, weight, and depth -Geometric shapes (e.g., circles, squares, etc.) have uniform measures, but natural, organic shapes are related to things that appear in the natural world (e.g., plants and animals) -Repeated shapes and forms create patterns Example: This painting of a woman bathing a child by Mary Cassatt (1893), The Bath, is a good example of the use of form. Inspired by the work of Edgar Degas and Japanese prints, this artist uses bold circular contour shapes of figures, a basin, and a pitcher. Notice the rounded, natural forms created to illustrate clear, crisp, lively patterns.

Describe and Give Examples of How to Perform Skipping (Instructional Techniques)

-Skipping is a series of step-hops completed with alternate feet -Primary school children love to skip. To help them learn to skip, have them take a step and a small hop on the same foot and then ask them to shift to the other foot. Seat a goal of smoothness and rhythm, rather than speed and distance

Describe and Give Examples of How to Perform Sliding (Instructional Techniques)

-Sliding is accomplished by movement on one side of the body. It's a one-count movement; as the leading foot steps to the side, the other foot quickly follows -Sliding is done on the balls of the feet while shifting weight from the leading foot to the trailing foot -Teachers should have the children change directions so both sides of the body can practice -Sliding should be performed in a smooth and controlled manner, without bouncing

20th Century Theatre

-Social upheaval from WW1/WWII -Early 20th century: new movements such as realism, naturalism, symbolism, and impressionism (meaning of the average man; actors portrayed likeness to life; ordinary life on stage) -Commercial theatres -Serious drama -Comedy -Actor's Studio -Experimental theatre -Community theatre and ensemble theatre (group)

Describe and Give Examples of How to Perform Stretching

-Stretching is perhaps the most valuable of all nonlocomotor movements. Its movement carries the body parts away from the body's center core and moves joints and muscles through a range of movements. -All PE activities should begin with a stretching warm-up exercise -Teachers should understand that some discomfort is normal, but stretching is necessary for maintaining and increasing flexibility -Ask children to stretch as far as is comfortably possible while keeping their movement smooth

Describe and Give Examples of How to Perform Striking

-Striking takes place when an object is hit with an implement such as a bat, a racket, or the hand -Striking involves movement of the body to create the force necessary for the maximum speed of the object -Instruction should include practice on stationary objects in primary grades before children can progress to moving objects. A good example of a stationary object is T-ball, in which the ball is placed on a T stand and is struck

Muscular Strength

-The amount of force exerted wit muscles. -Though many activities do not build muscle strength, upper-grade activities will often require muscular strength for certain sports (e.g., baseball, basketball, and tennis). -Muscular movements can be isometric with no visible movement (static) or isotonic with signs of movement (dynamic) PHYSICAL FITNESS COMPONENT

Broadway Theatre

-The commercial model that dominated the American theatre from the end of the 19th century until shortly after World War II -Named for the New York boulevard that runs through the Manhattan theatre district, this kind of theatre is essentially a profit-making enterprise in which shares of a production are sold to investors with the expectation that, after meeting the initial expenses of production, they will receive a substantial return on their investment -To enhance these profits, Broadway theatre aspires to very long runs of a single play, frequently using star performers appearing in vehicles with the widest possible audience appeal

Texture

-The element of texture is used to describe the way a composition might actually feel, or the way it might appear to feel with our eyes -Texture depicted in three-dimensional art has a tactile quality that can be physically touched (e.g., sculpture or architecture). -Texture depicted in two dimensional art gives you a "sense" of how an object might feel when touched, but you cannot physically touch the object. Some examples are collage or other works of art where artists creatively use color, line, and shape, to simulate the object

Dramatic Question

-The first and most important element in rising action -As soon as conflict has been established, the next question must be, "How will this turn out?" -The dramatic question then raises the issue of which of the conflicting parties will prevail and, in doing so, begins to develop suspense

Proscenium Staging

-The form of physical configuration between actor and audience encouraged by (some would say demanded by) the proscenium arch -It consists of a fairly narrow array of audience members gathered on one side of the stage only -There is a clear distinction between the areas occupied by the actors and the audience; in traditional proscenium theatres, there is also an effort to keep the audience directly in front of the center of the proscenium arch

Environmental Staging

-The form of physical relationship between audience and performers in which there is little or no clear definition between the space dedicated to each -The conventions of environmental staging dictate that audience and performers use the same space during the course of the experience

Body Movement

-The foundation for dance -It includes locomotor (dynamic movement of direction and rhythm) and non-locomotor (static movement that is executed around an axis of the body such as twisting, bending, and swaying)

Arena Staging

-The physical configuration of audience and actor in which the audience essentially surrounds the playing area -It is also known as "theatre in the round"

Thrust Staging

-The physical configuration of audience and performers in which at least some part of the stage extends into, and is surrounded by, the audience -In thrust staging, the audience surrounds the acting area to no more than 270 degrees; beyond that, the configuration is called arena staging

Multiple Plots

-The traditional element of theatre plotting in which more than one story line is presented, usually simultaneously -Frequently, the plots are kept separate until late in the play, at which point they intersect in some ingenious way -Multiple plots work best when each separate plot is somehow a treatment of the same theme or in some way shares an important theatrical element with the others

Medieval Theatre (500-1400)

-Theatre buildings were not permitted; minstrels, traveling groups, and jugglers from Greek-Roman period; open stage areas -Church/liturgical dramas: written in Latin/Bible stories; intended to educate regarding religious events, not to entertain -Dramatic form to illustrate religious holidays to an illiterate populace; "Everyman"; allegory -Genres: Passion play, miracle play, and morality play with themes of religious loyalty -Theatre groups evolved into town guilds

Describe and Give Examples of How to Perform Throwing

-Throwing requires an object to be propelled into space. Movement force originates from flexing the hip and moving the shoulder forward while extending the elbow. With the coordinated body movement, the object accelerates into space with greater speed and velocity -Primary school children need to proceed through preliminary stages of tossing (e.g., beanbags,) before entering the stages of throwing a ball with accuracy. In time and with practice, most children will develop a throwing skill pattern during grades 3 to 5 -Teachers should allow children to practice throwing a variety of objects that have varying weight and size. This helps the child to understand how different objects can travel at different velocities

Describe and Give Examples of How to Perform Twisting

-Twisting is the rotation of a body part around its own long axis, such as turning the head on its neck or wrapping the arms around the body -Twisting is different from turning in that twisting involves movement around a body part, and the focal point of turning is on the space in which the body is moving -Twisting instruction should include asking children to twist as fully as is comfortably possible, and then to twist in the opposite direction while holding the supporting body parts steady

18th and 19th Century DANCE -Formal dancing spread to the Continent; expansion of professional dancing masters; professional choreography at the Paris Opera (opera and dance); costuming, introductuon of the waltz (1-2-3) rhythm; court dance -Ballet developed throughout Europe; this led to virtuoso dancing; expressive capacity of the body; pointe footwork and the heel-less shoe -Era of Romanticism (early 1800s): the continued evolution of ballet; emphasis on emotions and fantasy; true pointe work; evolution of "lightness in flight"' this differed from other dance forms in placement and alignment of the body, as well as in training -Focus on the ballerina; the male dancer was secondary

Arabesque

A ballet pose in which the dancer stands on one leg with one arm extended in front and the other leg and arm extended directly behind the body

En pointe

A ballet position in which the dancer stands balanced on the ball of the foot or the tips of the half toes

Kabuki

A classical Japanese theatre form that combines colorful song and dance, flamboyant characters, and extravagant plots in a popular art that has retained its wide popularity since the early 17th century

Attitude

A dance pose modeled after the statue of the winged Mercury by Giovanni Bologna, in which the knee is bend and the working leg is lifted behind the body or in front of the body

Adagio

A dance to slower tempo music, such as the pas de deux in ballet. -It's also a type of practice exercises in dance class consisting of balance and sustained movement

Allegro

A dance with fast or lively tempo, such as fast turning movements in ballet

Opera

A drama, either tragic or comic, that is sung to an orchestral accompaniment. An opera is often based in biblical stories. Opera is typically a large-scale composition with vocal soloists, a chorus, and orchestra

Fugue

A fugue is based upon a short theme called a subject. The fugue subject contains both rhythmic and melodic motifs. The opening of the fugue is announced by one voice alone. A second voice then restates the subject, usually on a different scale. A third and then a fourth voice enter, each carrying the subject

Movement

A large section of a lengthy composition

Jete

A leap from one foot to the other in which the working leg is thrown away from the body and into the air. The pose achieved in the air differs, as does the direction the leap takes. A grand jete is a large leap

Oratorio

A major orchestral piece with solo voices and chorus

Plie

A movement in which a dancer bends the knees and straightens them again, usually with the feet turned out and heels firmly on the ground.

Rondo

A musical form whose main feature is the return of the main theme, which alternates with secondary themes For example: -Simple rondo: ABABA -Second rondo: ABACA -Third rondo: ABACABA

Pirouette

A non-traveling twirl or spin. The rotation of one foot en pointe that can be executed outward away from the body or inward toward the body. The non-supporting leg is held in retire devant (supported by the front of the rotating leg)

Lift

A part of pas de deux (dance for 2 partners) in which one dancer lifts the other off the ground

Passe

A passing movement position in which the foot passes from back to front, or vice-versa. When this position is held, as in pirouettes, with the foot of the working leg resting against the knee of the supporting leg, it's known as retire.

Lighting Plot

A plan of the stage showing the location of each lighting instrument, its size and characters, and the area of the stage where its light will fall

One-act Play

A play of short duration (usually less than an hour) that can be presented without an intermission and without major changes in scenery

Barre

A railing attached to the wall horizontally, about 3.5 ft above the floor. In ballet, dancers hold on to the barre during the introductory (warm up) portion of class. The barre is also used for leg stretches

Motif

A recurring group of notes, such as the four notes played at the beginning of (an restated throughout) Beethovan's Fifth Symphony

Syncopation

A rhythmic effect produced when the expected rhythmic pattern is deliberately upset

Symphony

A symphony is an elaborate musical composition, many of which are between 20 and 45 minutes in length. A classical symphony usually consists of four movements that are intended to stir up a wide range of emotions through contrasts in tempo and mood

A thrust stage extends into the audience's seating area, allowing the audience to surround it on 3 sides. Such an arrangement does not lend itself to elaborate setting or scene changes. Audience-actor interaction is a primary advantage of a thrust stage. -Having the class act out the scenes silently (pantomiming their parts) is a technique for getting the class more involved in the movements and feelings she wants them to express

Modern Dance

A type of expressive dance that started in the 1900s as a rebellion against the rigid rules that were characteristic of formal dance. Dancers are often barefoot and movements draw from the elements of ballet and jazz dance

Storyboard

A visual display of the plot of a play or film in which each scene (or shot) is represented by a single picture or short description. The pictures or notecards are then arranged on a wall or bulletin board in such a way as to depict the flow of the plot

Promenade

A walk. An adagio movement in which the dancer pivots slowly around on one foot while maintaining a pose with the working leg. Promenade is a basic move for square dance and English country dance

Opus

A work, usually identified by a number

Elements of Drama

ACTING -Is defined as the development and communication of characters in formal or informal productions or improvisations. Acting techniques include physical and vocal warm-ups, pantomime and mime, improvisations, voice and diction exercises, theatre games, performance, monologues, and script reading. -Sensory elements are movement, sound, and spectacle -Expressive qualities are mood, emotion, ideas, and dynamics THEATRE -Is the formal presentation of a scripted play. It incorporates elements such as acting, directing, designing, and managing. The organizational principles are: Plot and conflict, setting, character, language, rhythm and unity DRAMA -Involves the reenactment of life situations for entertainment and human understanding. Dramatic expression does not necessarily require a live-formal audience IMPROVISATION -Is a creative, cooperative, spontaneous, and flexible response to changing and unexpected dramatic stimuli. It embraces problem solving without preconception of how to perform, and allows anything within the environment to be used during the experience SCRIPTWRITING -Based on culture, imagination, literature, and personal life experiences. -Can apply to theatre, film, TV, or electronic media. -Classroom activities can include reading and analyzing scripts, outlining dramatic structure, and working together in groups to plan scenarios TECHNICAL SUPPORT TOOLS -Costumes, sets, lights, props, makeup, and sound STAGE -Is the structure where all drama and theatre takes place. Many structures have similar components. For example, proscenium theatres, arena theatres, and amphitheaters are a permanent part of the structure. In a black box theatre, the acting area is undefined so that each theatre may adapt specifically to a particular production. There may also be offstage spaces that are adaptable.

Improvisation

Acting without a script or prepare text

All folk dance is a form of cultural dance. Folk dance originated from medieval times when townspeople dances to celebrate. Medieval carolers were the first folk dancers and could be found throughout England and other parts of Europe. Although there are many dances that originated in Europe, authentic folk dancing in its purest form must include these 4 factors: -Dance movements must predate the nineteenth century -Dance is performed by peasants or royalty -The choreographer is derived from tradition -There is no teacher Variations of the original folk dances are found in dance forms today, including square dancing and barn dancing.

Space (Art Element)

Although space can refer to real three-dimensional space, artists refer to space within the boundaries of the composition. Space helps the composition look like it has form and gives the artwork a feeling of depth. Artists use both positive and negative space to influence how an object might appear. Negative space is the space between or around the object.

Lyre

An ancient harp

Space

An element of dance that refers to the immediate area surrounding the body. It is the general area where the dancer can move in direction, size, and place

Orchestra

An instrumental ensemble composed of strings, woodwinds, brass, and percussion

Body awareness is called proprioception, which is how the body senses the parts of itself (e.g., hands, feet, legs, arms). Since awareness involves an autonomous sense of the body in relation to personal space, shifting weight, and changing body movements, it's important for teachers to include motor activities that help strengthen perceptual body awareness. The patterns and themes of body awareness help children maintain a sense of personal boundaries, develop patterns of movement through space, understand the concept of shape, and sustain a sense of balance. The concepts of body awareness as students perform locomotor, nonlocomotor, and manipulative skills help create safe and enjoyable activities in the classroom

Body awareness is called proprioception, which is how the body senses the parts of itself (e.g., hands, feet, legs, arms). Since awareness involves an autonomous sense of the body in relation to personal space, shifting weight, and changing body movements, it's important for teachers to include motor activities that help strengthen perceptual body awareness. The patterns and themes of body awareness help children maintain a sense of personal boundaries, develop patterns of movement through space, understand the concept of shape, and sustain a sense of balance

Body Composition

Body composition is the proportion of body fat to lean body mass. -It's the amount of fat in relation to the percentage of non-fat in the total body mass -Measured by the thickness of selected skin folds PHYSICAL FITNESS COMPONENT

Color can be used in a composition to create a symbolic representation of mood and emotion. For example, red, orange, and yellow are warm colors. When gazing at a composition with warm colors, people often feel their body temperature rise since these warm colors are symbolic of sun, heat, fire. The opposite is true for the colors green, blue, purple, which suggest cooler colors. People tend to have relaxed, calm, and peaceful feelings with cool colors -Artists use value to create mood. For example, dark colors in a composition can suggest melancholy, gloom, mystery, or foreboding -Brighter colors in a composition are often associated with stronger emotions and heightened energy, while subtler, full colors are associated with a weaker, anesthetized state of energy

Comedy

Comedy is any play that ends happily. More specifically, it is the genre of dramatic literature that is lighter in tone than drama but more serious than farce. Comedy differs from drama in that the characters are less developed, the theme is less weighty, the language is usually wittier, and the ending is invariably happy. Comedy is often difficult to distinguish from farce; in the latter, the humor is more physical, the characters are more broadly drawn, and the plots are more contrived

Contrast

Contrast represents two things that are opposite. Artists use contrast to help a composition depict two dramatic differences. This helps to make objects become apparent to the viewer. -For example, contrasts can be heavy and light, curved or straight, or positive and negative PRINCIPLE OF ART

Cultural dances often carry important historical significance from ancient civilizations. Classic cultural dances from around the world include the Chinese ribbon dance, the Polish polonaise, and India's Kathakali or Bharatanatyam dance. Another cultural dance is clogging, which involves double taps on bot the heel and ball of the foot. Some popular historical dances that are often used today include the pavane or galliard (from Renaissance period), the minuet, Charleston, twist, disco, hip-hop, and lambada

Dance Activity Instruction -Begin with a warm-up and end with a cool-down. Exercises should include steps to be used in the dance activity. -Separate the dance into the steps. Begin by teaching the steps, describing and demonstrating each separately. Steps are done slowly at first, using counts, and then at the proper tempo -Teach one part of the basic step pattern at a time. When 2 parts have been learned, combine them to establish continuity of the dance -Explain the floor pattern. Have the dancers walk through the floor pattern. Then combine the steps with the floor pattern, first without music, and then with music. Remember that not all dances have a set floor pattern -Use key words and counts to cue the steps and directional changes, and to alert students. This helps students keep the main rhythmic pattern and encourages them to gain a sense of the whole.

Dance activities begin with body awareness and warm-up exercises, including posture, balance, flexibility, strength, and coordination

Extension (Leg)

Describes the dancer's ability to raise and hold a leg in the air in a straightened position.

Emphasis

Draws your eye to a visual focal point. Artists use emphasis to help an object stand out and grab your attention. It is the center of interest PRINCIPLE OF ART

During elementary school, the influences of social development appear in the following: 1.) Team Activities: Students interact in group social dynamics that encourage interpersonal strategies for teamwork, including motivating others, taking turns, working together cooperatively, and accepting the physical strengths and limitations of others 2.) Self-Responsibility: Students learn to accept personal responsibility for health-related fitness and their own fitness performance without blaming others. This includes responding respectfully to winning or losing 3.) Social Interaction: Students learn to be empathetic toward others as they respect individual differences. This respect involves including others in activities and motivating others to achieve success.

ELEMENTS OF DANCE SPACE -Locomotor (Travelling through space): Walking, running, leaping, jumping, hopping, galloping, skipping, sliding -Nonlocomotor (Staying in once place "on spot"): Stretching, pushing, twisting, bending, kicking, sinking or curling -Combined Locomotor (Often traditional folk steps): Two-step, paddle, grapevine, step-hop, chug, and spinning -When thinking about space, teachers should also be aware of the space between the dancers -Individual, group, or class (solo, duet, or ensemble) -Space between dancers (side-by-side, supported, far, or near) -Interactions between dancers (leader, follower, mirror, unison, or parting) TIME -Rhythm (countable patterns) -Tempo (fast or slow speed) -Beat (even or uneven) -Meter (2/4 time, 3/4 time etc) -Syncopation (a rhythmic pattern produced when a deliberate pattern is upset) -Rhapsodic Rhythms (non-metric (e.g., breath, water, wind)) LEVELS -Direction (forward, backward, up, down, sideways (horizontal/vertical), diagonal, straight, circle, out, zigzag, spiral -Form and Shape (angular, rounded, twisted, bent, crooked, symmetrical, asymmetrical) -Level (high, medium, low) -Range (wide, narrow, big or little) -Pathway (floor, elevated, or air patterns) -Focus (gaze, floor, or away) FORCE -Quality of Energy- sustained (smooth), suspended (light), swing (under-curve), sway (over-curve), collapsed (loose), percussive (sharp), or vibrate (shudder) -Degree of Energy-strong, weak, heavy, light, dynamic, static, flowing, or tense

Early 20th Century DANCE -Revolutionary aspect of Ballets Russes (Russia); stretched the boundaries of classical ballet, new movements ("turnouts") -Revolutionary aspect of early modern dance; appreciated the qualities of the individual; primitive expression and emotion; "new freedom" of movement; choreography of Isadora Duncan and Martha Graham and their harsh break from restrictive classical ballet and tutu; broadening the minds of the public; explosion of modern dance in the early 20th century. It was during this period that ragtime jazz emerge, and the "flapper" era influenced fast-moving dances like the Charleston

Musical History: Modern Era (1900s)

Evolution in the musical world, rebellion; unique sounds; difficult to quantify; nationalism; folk idiom was prevalent (e.g., in Liszt's Hungarian Rhapsody, Copland's Appalachian Spring); widening gap between "art" and popular music (Beatles) -Technology allowed for mass appeal and a new direction in music making (sound recordings, electronically created sounds, computer music, and composing) -Polytonality (playing 2 keys at once) -Puccini (Italian) and his operas Madama Butterfly and La Boheme; Debussy and Impressionism; Stravinsky, post-Romanticism, and his ballet The Rite of Spring; Rachmaninoff, Prokofiev, and Shostakovich -Influences of blues (sorrowful black folk music) and jazz (rooted in African rhythms and harmonies with modern instrumentation, improvisation, and syncopation) -Rock 'n' roll, R &B, country, folk (cultural link, passed on by word of mouth), and hip-hop

FITT GUIDELINES FREQUENCY -How often does the activity occur? -Frequency is the number of sessions that the activity might take to achieve the desired result INTENSITY -How difficult is the activity level (mild to moderate)? -Intensity gives an indication of how difficult the activity might be. This principle is important to monitor so that instruction can be increased or decreased, depending on the intensity of the activity. Remember to always monitor cardio-respiratory exertion. TIME -How long does it take to perform the activity? -The duration of the activity is dependent on the intensity and type of activity. The minimum of aerobic activity should be 8 to 10 minutes, but the ideal aerobic time should be at least 20 minutes during a 1 hour activity TYPE -What kind of activity is it? -The type of activity describes the mode of activity. Most activities can be adapted to comply with the FITT model, so teachers should focus on activities that will help them achieve their desired instructional goals. All activities should include a warm-up, strength development, aerobic activity, and a cool-down

-Director of the NYC Ballet and modern American ballet -Broadway and Hollywood shows; a new style of moving with emphasis on speed and mobility; lean body types, importance of the female dancer

George Balanchine

Guidelines for Creating Physical Fitness Activity All activities should include a warm-up, strength development, aerobic activity, and a cool-down -Warm up exercises involve muscles to be used during the physical activity. Try to isolate muscle groups and be sure to ask students not to overextend or bounce. A fitness activity always begins with a sufficient warm-up activity (e.g., light aerobics, calisthenics (i.e., push-ups, squats), walking, slow jogging, stretching) -Instructional components provide students with step-by-step instruction as stated in the components of fitness, FITT model, and the guidelines for developing a lesson -Physical activity provides students with a targeted activity (e.g., dribbling a basketball) along with modeling of the activity and verbal cues. In grades K-3, activities should be noncompetitive and in grades 4-9, activities should be related to sports. All activities should be safe, enjoyable (promoting self-image), inclusive (active for all students), and developmentally appropriate. -K-3 Basic Station Activity: Set up stations to provide varied activities (e.g., Station 1: nonlocomotor (e.g., hula hooping, lifting knee to chest, sit-ups); Station 2: locomotor; and Station 3: object manipulation) Rotate after 10 minutes. -Cool-down exercises are just as important as warm-up exercises. Current research indicates that cool-down activities (e.g., simple calisthenics, breathing exercises, and light walking) are as essential to preventing injuries as warm-up activities -Discussion and evaluation provide students with the needed feedback on activities that include proper body mechanics, sportsmanship, learning objectives, and social aspects of the activity

Guidelines for Creating Physical Fitness Activity All activities should include a warm-up, strength development, aerobic activity, and a cool-down -Warm up exercises involve muscles to be used during the physical activity. Try to isolate muscle groups and be sure to ask students not to overextend or bounce. A fitness activity always begins with a sufficient warm-up activity (e.g., light aerobics, calisthenics (i.e., push-ups, squats), walking, slow jogging, stretching) -Instructional components provide students with step-by-step instruction as stated in the components of fitness, FITT model, and the guidelines for developing a lesson -Physical activity provides students with a targeted activity (e.g., dribbling a basketball) along with modeling of the activity and verbal cues. In grades K-3, activities should be noncompetitive and in grades 4-9, activities should be related to sports. All activities should be safe, enjoyable (promoting self-image), inclusive (active for all students), and developmentally appropriate. -K-3 Basic Station Activity: Set up stations to provide varied activities (e.g., Station 1: nonlocomotor ; Station 2: locomotor; and Station 3: object manipulation) Rotate after 10 minutes. -Cool-down exercises are just as important as warm-up exercises. Current research indicates that cool-down activities (e.g., simple calisthenics, breathing exercises, and light walking) are as essential to preventing injuries as warm-up activities -Discussion and evaluation provide students with the needed feedback on activities that include proper body mechanics, sportsmanship, learning objectives, and social aspects of the activity

Music History: Middle Ages/ Medieval (500-1400)

Historical Themes: spread of Christianity; development in Europe; the Crusades; the rise of universities; the influence of Islam; this was the longest period Musical Styles/Elements -The Church dominated society for most of the era (900 years); sacred music was the most prevalent (liturgical); Gregorian chant was a melody set to sacred Latin texts. This monophonic style music (meaning one melodic line and no accompaniment) was the official music of the Roman Catholic Church. Musical notation originally consisted of just the pitch of the notes; notated rhythm was added at the end of the 12th century -Polyphonic style (two or more melodic lines) appeared at the end of the 12th century, as did notation (system of writing music) and the chromatic scale (octaves of 12 notes). Most composers were anonymous. Secular song developed by the end of the 12 century; popular songs were not bound by the traditions of the Church and were performed by troubadours.

Music History: Renaissance Era (1400-1600)

Historical Themes: the end of feudalism; a new concept of humanism; rediscovery of ancient Greek and Roman culture and ideals; art and music for their own sake; scientific advances; the age of patronage Instrumental dance music developed: music and dance were connected; new instruments included the keyboard (clavichord); the lute was a favored instrument through the 16th century. The printing press preserved and extended music. Musical styles/elements: polyphonic emphasis on harmony (in which 2 or more notes are sounded simultaneously as in a chord); sacred (liturgical, such as masses); secular (madrigals/songs)

Musical History: Classical Era (1750-1820)

Historical themes: Industrial Revolution, Age of Reason and Enlightenment, Age of Revolution, revolutionary music (such as the French "Marseillaise") Orchestra gained in importance; increasing use of flutes and oboes; string and wind sections developed; by the 1800s, trombones were introduced; refinement of sonata (instrumental music with a soloist and standard structure for the opening movement); development of the piano; Rococo style (highly ornamented) Elegance and courtly grace (e.g., minuet developed as a dance style) Classical style: homophony (a single melodic line and an accompaniment); simpler textures and melodies; expansion of textures, melodies, and variation. String quartet (two violins, viola, cell); Haydn the "father" of the string quartet; orchestral symphony (origins in opera overture, four movements); opera, concerto (composition for solo instrument) -Creative impulses of giants Haydn, Mozart, Beethovan

Musical History: Romantic Period (1820-1900)

Historical themes: Rise of European nationalism; new social orders; intense emotion in arts (paintings of Delacroix and Goya); Poe in literature; "Romanticism" derived from concepts of heroes, love, chivalry associated with the Middle Ages; visual arts, poetry, drama, and nature as themes -Artistic experimentation by composers Chopin, Liszt, Berlioz, Mendelssohn, and Schumann; style was expressive, melody prominent, and folk music was used to express cultural identity Opera: Verdi (Italy), Wagner (Germany); themes from ;literature and folk tales; very popular Genres: symphonic poem (orchestral work that portrayed a story) and concert overture (e.g., Rossini's William Tell). Emphasis was on the sonata and symphony, and included the introduction of dissonance to create emotion; featuring virtuoso performers

Music History: Baroque Era (1600-1750)

Historical themes: importance of scientific investigation; New World exploration and empire' ornate and extravagant; painters include Rubens, Rembrandt, and El Graco; composers included Moteverdi, Handel, and Bach Musical styles/elements: heavily ornate style; counterpoint (technique of combining several melodic lines into a meaningful whole); melodic line; emphasis on contrast and volume; imitative polyphony (many-sounding melodic lines are presented by one voice or instrument and then restated immediately by another); homophonic style (chords under a melodic line), also theme and variation (recurring patterns). Secular music advances; "court" composers; keyboard music for the harpsichord and organ Developments: opera (staged dramatic vocal music and entertainment), orchestra, ballet, and sonata (solo instrument with accompaniment)

Chorus

In Greek and Roman drama of the classical period, a group of characters in a play who comment on the action, frequently speaking directly to the audience. The function of the chorus is usually that of an intermediary between the audience and the major characters in the play. Because they are often given a collective role, the individual members of the chorus seldom have separate names or characters. Instead, the group as a whole serves as a surrogate "audience" to the degree that it is detached from the dramatic action and can view with horror or amusement the action of the major characters; at the same time, the chorus can participate directly in the action, advising the protagonist, arguing with the antagonist, and praying to the gods for guiding

Upstage

In a proscenium staging, the portion of an acting area that is farthest from the audience

Orchestra (Drama)

In an ancient Greek theatre, the open dancing area in front of the stagehouse. In modern usage, the orchestra is the lowest and usually most expensive array of seats directly in front of the stage. This should not be confused with the "orchestra pit"

Force

In basic body mechanics, the force of energy that's released from the body (potential energy) causes a change in the body's physical motion (kinetic energy)

Mood

In lighting, the use of elements of stage lighting to evoke or support particular emotional states in the audience of a play. As an element of theatre, this is the place on the humorous-serious scale that a play is expected to occupy

Positions (of feet)

In modern ballet, there are 5 basic placements of feet on the floor: first position through fifth position. Positions are fundamental techniques to ballet

In the early grades, K-2 teachers help students become aware of space, basic movement, effort, and cooperative activities. In the upper elementary and middle grades, 3-9, the fundamental movement skills developed earlier are applied as activity-specific motor skills in a wide variety of settings. The classroom objectives are to increase competency in building motor control, motor skills, and movement patterns already established and refined in earlier grades

Grand Jete en Tournant (Tour Jete)

In this grand (broad) ballet leap, the dancer's body turns halfway in midair so the dancer lands facing the direction in which the movement started

Inciting Incident

In traditional dramatic structure, the first incident in the chain of event is called rising action. It is the inciting incident that throws the world of the play into disequilibrium (destroying stasis); the remainder of the play is an attempt to reestablish that balance. The inciting incident may be deceptively simple: the arrival of a new person in the community, the delivery of a letter, a piece of news emerging in casual conversation, and the like

Climax

In traditional dramatic structure, the point of the play that completes the rising action. The contending forces, having raised the conflict to the highest point possible, face one another in a confrontation so inescapable that only one can emerge victorious. At this point, frequently a new piece of information is made public that tips the balance one way or another. The climax is followed by the denoument

Rising Action

In traditional dramatic structure, the portion of the plot that begins with the inciting incident and continues until the climax. The incidents that make up rising action are expected to build in intensity and frequency, often alternating good and bad news, in such a way as to increase suspense

Denoument

In traditional dramatic theory, the portion of action that immediately follows the climax of a play. In the denouement, the last remaining loose ends are tied up, including the disposition of any unresolved conflicts and the reestablishment of stasis (a condition of balance and harmony)

Ways to Encourage Kids to Become Aware of Their Physical Body (Balance)

Instruction in concepts of balance in the body ("balance on one foot; balance on your hands while stretching your body, form a tripod with your body")

Ways to Encourage Kids to Become Aware of Their Physical Body (Shape)

Instruction in concepts of how the body can form different shapes (e.g., "allow your body to form different shapes, wide or tall"; "stand like a pole"; move body in different ways like marching to beat of music, then bunny bouncing to beat of music, then make the letter of the alphabet with your body)

Ways to Encourage Kids to Become Aware of Their Physical Body (Space)

Instruction in concepts of sharing space with others ("run in a zigzag fashion without bumping into others, point to a spot and see if you can run straight toward it, touch it, and run back without touching someone else, do warm up exercises one arm's length apart")

Ways to Encourage Kids to Become Aware of Their Physical Body (Quality)

Instruction in concepts of speed, contrast, force, and relaxation (e.g., "how fast or how slow can you move?"; "tense one part of your body and then relax another part of your body")

Ways to Encourage Kids to Become Aware of Their Physical Body (Exploration)

Instruction in the concepts of moving over, under, around, and through, and leading with certain body parts (e.g., make a bridge with a partner and then have a third person go under the bridge, lead with your head when walking)

Late 20th Century Dance -Growth of contemporary dance; post-modernism in the 1960s; a movement toward simplicity and a less sophisticated technique; "No" manifesto, a frequent rejection of costumes and stories -Other directions post-1960s- More eclectic; ballet and ethnic used in the same performance; all male groups; intense theatrical effects in lighting, costumes, and sets

Locomotor Skills -Are basic movement skills that are performed in different directions and at different speeds -They are dynamic movements that propel the body upward, forward, or backward. These movements are the foundation of gross motor coordination, involving large and small muscle movements -By the end of 2nd grade, students are expected to make smooth transitions between sequential locomotor skills; in the upper grades, they are expected to demonstrate more complex skills combining locomotor and manipulation skills (e.g., dribbling a basketball). -There are many different combinations of movement patterns that can describe the type of locomotor skill: walking, running, jumping, skipping, leaping, galloping and sliding

Intense movement often depicting pain, fear, and love; dance forms "sculptured" by human body positions; contraction and release of the torso, "fall and recover," angular gestures, schools and dance companies

Martha Graham and Psychodrama

Maypole Dance -The maypole is a tall pole decorated with floral garlands, flags, and streamers. Ribbons are attached to a pole so that children can hold a ribbon as they dance

Middle Ages (500-1400)-DANCE -The Church attempted to restrict pagan dance, often associated with fertility, but folk dances evolved from earlier ritual dance (e.g., Maypole dance; origins in primitive fertility rituals [dancing around a pole]; associated with spring) -Characteristics of Folk Dance: There are many regional differences; all had recreational aspects and basic steps such as running, walking, hopping, and skipping; all are linked to culture, music, and the history of a group;they take the form of a circle -Current Examples in the 20th century: Polka, square dances, historic dances

Modern dance was born in the 20th century as a result of dancers resisting the rigid structure of classical ballet dance. Modern dance choreography is based upon the subjective interpretation of internalized feelings, emotions, and moods. Unlike formal ballet, modern dance is often unstructured and makes deliberate use of gravity and body weight to enhance movement. Since modern dance encourages free-style dance, teachers should utilize this style of dance in an effort to provide dance opportunities for all ability levels in the classroom. It also encourages students to express feelings and emotions through movement

Chamber Music

Music played by 1-20 performers

Nonlocomotor Skills -Are often referred to as static movements because they are passive movements performed while standing in place. -Movements are executed by twisting, turning in place, bending, swaying while moving toward or away from the body center, raising or lowering parts of the body, or stretching in place -These movements are important skills that lead to effective body management such as body control, flexibility and balance. -The range of movement is around the body's joints and surrounding muscles, and these movements are often used in activity warm-up exercises

Object Manipulation Skills -Are complex motor patterns that are basic to specialized sports and are performed with some kind of object (e.g., a ball or bat). -Requires hand-eye or foot-eye coordination, and thus requires developmentally appropriate gross and fine motor abilities. If children do not learn manipulation skills, they sometimes have difficulty developing mature patterns of movement (e.g., throwing or catching). -Object manipulation is particularly valuable in hand-eye coordination as children learn to track objects in space. -Early manipulative skills help form the foundation for many later sport activities. -Primary grade kids can begin with throwing bean bags or large rubber balls, preparing them for upper-grade activities such as baseball or water polo. -When preparing activities using object manipulation, it's important to identify the appropriate age-related physical development of the child before developing physical activities. -Object manipulation skills include throwing, catching, kicking, and striking

Physical fitness activities help to formulate lifelong psychological wellness among children. Effective classroom fitness activities not only provide an opportunity for physical expression, but also provide children with the necessary psychological and emotional structures to create their self-image. The confidence and competency gained through physical self-expression construct personal internalized meaning for children. As children acquire positive experiences, their view of self and their surrounding world is strengthened. The mastery of physical skills is an opportunity for children to modify and improve upon cognitive and emotional internalized processes. Instructional programs that are effective in promoting a positive self-image include: -Self-responsibility (promoting responsibility for one's self, including self-appraisal) -Goal-setting (setting and achieving realistic, personal fitness goals; including goals that are progressively more varied at different skill levels) -Social interaction (developing social interaction among students including communication, cooperation, encouraging and praising others, practicing respectful criticism, and accepting individual differences) -Group interaction (fostering social concepts of supportive learning as a group or team; working together to form group decisions, respecting the sport rules and exhibiting good sportsmanship)

Physical fitness activities help to formulate lifelong psychological wellness among children. Effective classroom fitness activities not only provide an opportunity for physical expression, but also provide children with the necessary psychological and emotional structures to create their self-image. The confidence and competency gained through physical self-expression construct personal internalized meaning for children. As children acquire positive experiences, their view of self and their surrounding world is strengthened. The mastery of physical skills is an opportunity for children to modify and improve upon cognitive and emotional internalized processes. Instructional programs that are effective in promoting a positive self-image include: Self-responsibility (promoting responsibility for one's self, including self-appraisal) and Goal-setting (setting and achieving realistic, personal fitness goals; including goals that are progressively more varied at different skill levels)

Prehistory to Beginning of Middle Ages (A.D. 400)-DANCE -Characteristics: Circle form (rhythmic motion within a circle); use of imagery -Gender Roles: War and hunting for men, seasons and planting for women. Early accompaniment came from drums, harps, flutes, and chants -Forms: Social dance, which celebrated birthdays, special events, and rites of passages; ritual dance, which maintained tradition, religious rituals (temple dances), and hunting magic; and fertility dance, which marked the changing seasons (especially for planting and harvesting) and sought favor with gods -Historic Evolution (Use of Dance Movement) -Egypt: Movement associated with gods/funerals -Greece: In-theatre-chorus; also the festival of Dionysus -Rome: Pantomime/dance expression -India: Formalized hand movements (e.g., Hindu dance, the oldest world dance) -Java: Elaborate costumes, balance and moderation, and traditional dance -China: Ceremonial dance with each character having specific hand movement and martial (war) dancing -Japan: Kabuki (traced to primitive rituals; it involves stomping, elaborate costumes, is male only and is still current)

Spotting

Refers to a dancer's eyes focusing on one point in the distance in order to keep balance while turning. The head is the last to leave the turn, and the first to arrive as the body completes the turn.

Classical Dance

Refers to romantic ballet, a style of dance as taught in the original academies that started during the Renaissance. The term also refers to the supreme ballets created during the days of Imperial Russia, such as Tchaikovsky's The Nutcracker and Swan Lake

Renaissance (1400-1600)-DANCE -Dancing evolved from pageants and processions of the period -Ballet developed in France (1500s) and moved to Italy; this led to the development of court dancing in Europe (nobility in a palace setting); patronage of the Medicis; "dancing masters"; steps were slow (adiago) and fast (allegro); lack of spontaneity (defined steps) -Music to accompany specific, technical ballet steps; a theatrical art form developed--music, costumes, setting, plot, and themes such as Greek and Roman mythology and history (Julius Caesar); Shakespeare's Romeo and Juliet -Minuet: A formal aristocratic court dance developed at the end of the period

Chord

Several notes sounded together

Social dance and mass culture: Rock n' roll, MTV; hip-hop, ballroom dancing (tango) [LATE 20TH CENTURY]

Social dance refers to dances in which socializing is the main focus; therefore, a dance partner is essential. The popularity of competitive social dancing has helped many of these dances styles become household names. -Social dances include hip-hop, line dance, ballroom, waltz, fox-trot, tango, rumba, jive, and swing

Creative Movement (Improvisation Movement)

Spontaneous and imaginative dance movement with an emphasis on body mastery for expressive and communicative purposes. Creative movement should be an integral part of elementary school dance instruction

Endurance

The ability to sustain physical effort for long periods of time -Endurance helps children perform fitness activities without excessive fatigue

Illumination

The act of casting light upon an otherwise darkened stage

Downstage

The area of the stage closest to the audience

Alignment

The body placement (line) or stance of the dancer's body to increase body health and efficiency

Drama

The category of literature intended for the stage. Also, in general use, the perception that a series of real-life events have the kind of meaning commonly experienced in the theatre or films, as in "a dramatic rescue" or the "drama of a summit meeting"

Choreography

The composing and arranging of movements, steps, and patterns of a dance for a performance

Elevation

The dancer's ability to jump high into the air and give the appearance of remaining suspended at the apex of the jump long enough to perform various movements or poses

Dance

The expression of movement. Dance is the organization of a series of rhythmic body movements with a beginning, middle, and end in sequential form

Melodrama

The genre of the theatre that is normally placed between tragedy and drama and which shares some characteristics with each. It is largely serious in tone, placing its major figures in great jeopardy, but unlike tragedy, saves them from destruction at the end. The moral stance of melodrama is always clear: the good characters are very good, the bad ones are very bad

Proscenium Arch

The major architectural feature of Western theatres since the Renaissance, the proscenium arch is essentially an opening in the wall between two rooms. In one room (the stagehouse), the actors perform; in the other room (the auditorium), the audience is located. The arch itself can range from extremely elaborate and intrusive to nearly undetectable

Connotative Meaning

The meaning suggested by the associations or emotions triggered by a word or phrase -Much connotative meaning evokes an emotional rather than an intellectual response

Exposition

The playwriting device of providing information to the audience. Restrospective exposition usually occurs early in the action and gives the audience important information about what has occurred before the play begins; current exposition provides information about events offstage happening during the play

Kinesthetic Awareness

The sensory feeling and awareness of one's own body and muscles. Also called proprioception.

Tempo

The speed with which incidents that make up the action take place

Song Form

The structure of a song in which the first section of a simple ternary form is repeated—for example, AABA ---A simple ternary form is music in three sections, with the third generally an exact repetition of the first, ABA

Lunge

The transfer of one's body weight forward by moving and bending one leg and placing at least half of one's body weight on that front leg while dancing

Theatre utilizes both language and body movement in stage activities. Theatre helps students develop poise, confidence, ease, and versatility both verbally and physically. Drama develops creative, critical, and communication skills and should be a regular offering at all grade levels

Theatrical dance is based on music, songs, dialogue, and dance. Audiences often experience it in the form of musical theatre productions. Well-known musical productions are ballet, jazz, and tap. Other productions include ethno-cultural, kabuki, Russian, and Celtic dance

There is an intrinsic value to music education programs. Music offers a modality of creative self-expression and enjoyment. The types of cognitive, social, and physical skills that children can cultivate through the appreciation of music include: -Music offers a valuable opportunity to build active listening skills -Helps to shape the cognitive and mental processes in children -Music has its own forms, time periods, and cultural characteristics -Music can be used to enhance other subject areas, particularly visual art -Music extends beyond knowledge and skills -Music can be a form of therapy that offers a unique medium for self-expression -Musical instruments ca be created from material from the environment, and children can create instruments in the classroom 1.) Auditory Skills (Hearing the sounds of music) -Children engage in attentive listening and further develop aural acuity. This means that children must be able to hear and reproduce the tones of music in their minds when no sound is actually being produced 2.) Translative Skills (Reading and writing music) -As children become familiar with reading and writing the language of music through notation, they develop cognitive associations of meaning. Their experience with sound helps children link visual symbols of music notation with sound. Learning is enhanced when teachers use learning in conjunction with singing and playing music. For example, using memorization to understand meter signatures would not produce the same benefit as if the students participated in playing or singing 3.) Creative Skills (Creating music) -Composing and creating music should be used in conjunction with other musical activities. Performing both improvised and written music should be encouraged 4.) Performance Skills -Singing: Musical selections should be chosen based on the physical development of students' voices. Listening while singing should be encouraged to develop interpretive skills and understanding of the structure and elements of music -Playing instruments. Instrument-playing aids in understanding the concepts of sound, pitch, rhythm, and so on. Playing instruments can be used to accompany and produce harmony. Students should have access to class instruction and, at a certain level, to playing in orchestras and ensembles -Body movement. Moving to music is a learned skill that promotes acuity of perceptions. A wide range of music and modes should be used -Conducting: Even young children can experience elements of music through conducting speech chants, involving changes in tempo, dynamics, pitch, and so forth. Conducting fosters sensitivity to musical expression -Musical analysis: Students should compare their listening and playing exercises. Students should be encouraged to verbalize their musical analysis

Block (Verb)

To decide upon the gross movements of actors upon the stage; assign the physical relationship of actors and the locations of entrances and exits; create stage "pictures." Frequently, early rehearsals (blocking rehearsals) are devoted to this task. -Placement and movement of actors on the stage

Sonata

Typically, a multi-movement instrumental work for solo keyboard, or keyboard and another instrument, or small chamber ensemble

Unity

Unity is the sense that all components of a composition belong together. The intention of every successful artist is to master unity. The elements of art such as shape, line, and color appear to fit together as the viewer gazes upon the piece of art, with nothing left to complete, delete, or change. Unity creates a sense that the artwork is self-contained and has life of its own, whole and complete PRINCIPLE OF ART

Presto

Very fast

Largo

Very slow

Content

What is portrayed in theatre; namely, the interaction of at least 1 character with some aspect of his or her environment. Since the portrayed interaction is normally with another person (or an aspect of the natural environment endowed with human qualities), the content of theatre is character-character interaction

CSET SUBTEST III (CLIFFNOTES)

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