Il “Tedone” has been recognized by inclusion in the GOLD national best practice teaching of the "We built the theater," for writing a play by two of our high school classes. GOLD
experiences are included, provided that proper selection of proposals most qualified and innovative in the archives of the Ministry, currently number 100, to be guidelines to all schools for the development of innovative teaching methods.
In 2004 he was selected and added to the experience on the construction of the text of "Pagnottella" written the previous year and accounted for 2005, the proposal can be found at:
http://gold.indire.it/nuovo/gen/show-s.php?ObjectID=BDP-GOLD00000000001C9312 .
Here is part of the record of their report, which describes the development of the initiative during the Air. sc. 2002/03.
The activity of creating the text "Pagnottella" developed in times coincide, in principle, with the entire span of the second quarter of last school year. Direct experience has a better understanding of all students will require many of the choices ahead of preparing and writing a text, how many possibilities there are to make an issue or problem that it is important to calibrate and when to make the most of situations, characters and environments, with many clichés, mental and expressive, it is necessary to deal , which importance is the homogeneity of the product and its internal consistency.
In creating the text, the general plot of the work, the individual scenes, the specific situations, characteristics of the characters, the language assumed (dance, words, music, image) have always been subject to transformation until the last moment, everything has remained resilient, adaptable, but every change has always come to terms with the rest of the work, because the end result was a product line (in the manner, in parts, in relation to the message), balanced (the weight of the characters in the scene length), original (in finding the most effective choices, focusing on creativity, without But that is bordering on free or an end in itself, needs to also spectacular).
The creation of the text involved a series of transactions and activities that the students have done through discussions, contacts, tasks in the classroom, or work in the afternoon, group or individual.
Everything can be summarized and outlined through the following path:
1) Identification of the issue through discussions group reflection and the uses to which it was intended to hunger, on the theory that they wanted to prove that it was intended to convey the message.
2) Choosing the type of work we set out to create (a protagonist, choir, mixed);
3) Decision on the register to be used (grotesque, ironic, playful and elegiac, dramatic, etc.).
4) Decision on key (realistic, symbolic, mixed);
5) Research and creation of specific situations or special characters that could effectively make the themes to be developed and appropriate for an implementation according to the register and the selected key. Proposals for each student, in writing, developing specially designed questionnaire, were examined, selected, adapted and supplemented by a small group of students who worked under the guidance of the teacher is proposed to 'attention of the entire group.
6) Creating a general plot, a plot of maximum, to be supplemented or amended as necessary, to develop the various themes using the situations, characters and others imagined that they could interact with them. Taking advantage of the ideas and the ideas more valid and interesting proposals emerged from the individual, through a discussion group, mapped out a general plot of the work, which also provided a setting to the story, placing it in space and time.
7) Discussion of the various characters, some in all aspects: motivation in the action, social background, culture, character and cut psychological, expressive habits, tics and obsessions, problems related to the character and which condition the behavior.
Proposals for each student, in writing, developing specially designed questionnaire, were examined, selected, adapted and supplemented by a small group of students who worked under the guidance of the teacher, and then re-discussed in the group.
8) finalization of the texture on the basis of additional information that emerged through the deepening of the characters, with:
a) Decisions on the final events related to various topics;
b) Integration of situations to better make particular aspects of the characters' personalities
c) Elimination of what might be superfluous in the plot of maximum
d) Decision on the languages \u200b\u200bto be used to make paintings or specific situations (verbal, musical, dance)
e) Selection of solutions to reconcile between their themes or situations
9) Creation of the overall scheme of work, namely the distribution of matter in scenes.
For each scene were given the characters involved, the situations to be developed, the meaning and content of the dialogues.
10) Creation of the lyrics
Each student has provided its own draft text for the songs to be included. The various proposals were examined, selected and adapted by a small group of students who worked under the guidance of the teacher.
11) Spreading the dialogue scene by scene.
Abstract:
Regarding the creation of beats, the students were accustomed to select and use tools and diverse media (lexicons, folkloric material, collections of proverbs and idioms) and asked to use different expressive registers: formal and informal language , slang and dialects.
Work organization
To engage all students have been trained eight basic groups of four students each (balanced between groups for their overall capabilities) and 2 groups of supervisors, made up of the more capable and creative students.
The characterization, already done upstream, and the existence of a general pattern of work, specifying the content of the various scenes, made possible the parallel formulation of different hypotheses by the groups as a basis for dialogue on the same scenes .
In each meeting, the grassroots groups have worked to create dialogues with a number of scenes.
For the first meeting, the supervisors have been the wild card, moving from one group to another and collaborating on the development of the project from the second meeting, however, have examined the different hypotheses for each scene of dialogue made by grassroots groups , and created the dialogues final, taking the best from each proposal, adapting, "contaminating", integrating, reducing or possibly rewriting the dialogue, however, giving homogeneity to texts written by different hands.
12) Installation of all the scenes and general review of the product,
groups of supervisors, led by the teacher, have re-read the entire text created by intervening to make it more uniform in style and expression; worked shifts or cut scenes ; connections created and produced a balance of work to ensure that every detail was in the light of all that there were no redundancies and that, consistent with the specific weight of the various characters, action were balanced.
13) Creation of working groups composed of boys who were unwilling to act, and these groups have dealt with:
- Study of the costumes: the search for solutions more affordable and original, finding or designing costumes
- Studio make-up according to character of the work and the characteristics of the characters
- Design of the choreography
- Creation of scenery and props
- Study of effects or music for the soundtrack of the work, according to a decision consistent with the character of the play, and with the atmosphere that you intend to create or emphasize.
Regarding the preparation of the show itself, after the award roles through the specimen, was drawn a general calendar of evidence that, with a judicious system of rotation, has alternated between the groups of pupils involved, in order to avoid the boys both wasting time, that the stress test in days close.
During rehearsals for the show were systematically provided information and suggestions relating to the characterization and the yield of the situations, but tend to leave big space to the creativity of students, "disciplined" only aimed at achieving better yield of the spirit of the work. The most care during the laboratory stage involved the use of stage space, spatial body movement, mime and gesture, the group scenes, the leap of beats, breaks the action, the report stop-motion, the emotional involvement, interaction with the audience, the pace of dialogue and ' stage action.
During the tests, the script is complete, update with all the information on actions, interactions, movements, locations on the stage, etc. ... gag.
This mass of information has been merged in the script in the form of captions and diagrams.
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