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Alston Albarado
Professor Betty Lou Williams, Ph.D.
EDCS 627
5 March 2019
Local Museum Report #4: Twilight Tours at the Honolulu Zoo
Marketed as a two hour walking tour after zoo regular operating business hours, the Twilight Tours is a program ran by the education department offered early evenings on select Fridays ... |
al environment” that promoted “learning.” This mentality was constantly reminded to us as the tour progressed, becoming an element of almost every aspect of the tour. Social media use was also encouraged, with constant reminders to take pictures and share them online at every opportunity that arose. This led to most of... |
ed: a tuft of fur from a lion’s mane, a replica of an elephant’s tooth, and a girl scout’s cookie box (palm oil being replaced with environmentally friendly version at tiger exhibit). Besides the cookie box, these objects provided tactile sensory experiences that cannot be experienced through a simple visit to the zoo.... |
ing hints that Edna must have a lower voice that can be easily mistaken for a man’s vocal quality. Later in the script, the entire women ensemble is arrested and detained in a women’s correctional facility. In response to the women complaining on the temporary living conditions, Edna exclaims, “Well, it’s just us girls... |
boy, “Waters had a curious appetite for the macabre” and would recreate car accidents with his toys as well as urge his parents to take him to junkyards to further explore wrecks in the real world; one of Waters’s favorite memories is the moment he found real blood within one of these wrecked vehicles (Ives 12). As h... |
94) causing him to be very selective during his casting process. Being able to effectively portray the humor stands as the most prevalent and important aspect of Waters’s filmography, something that he entrusts in a select group of individuals. Stemming from Waters’s history of underground films are his team of Dreamla... |
benstein 44)
Waters also profoundly remembers that he could not recognize Divine as she blended into the crowd of bystanders merely watching the production in process (Hairspray (1988) Commentary, 7:58-8:15). Divine was able to effortlessly blend into the character of Edna and become unrecognizable to even those that w... |
cribed earlier. Even though the actions themselves were prominent, facial features and gestures were contained and only utilized to highlight occasional emotion, most times anger. It is not until later films where the exaggerated Divine style begins to start peeking through and changing.
Pink Flamingos marks the first... |
endnote, or cut.
C. Relationship to John Waters
The friendship between Divine and John Waters shines through the numerous films the two have worked together on. Divine would have never met Waters without the help of Carol Wenig, a neighborhood friend. Wenig credits herself as introducing Glenn to Waters, after Waters... |
ls on the cast, creative team, plot breakdown, program order, or biographies. In the professional realm, mostly within Broadway and West End (London) productions, show programs are marketed as Playbills. These branded programs are more in-depth and reflect a more magazine/editorial format in their arrangement as advert... |
track down a few Playbills from Broadway and the West End from friends and colleagues that brought back extra copies on their respective trips. This fortunate circumstance has prompted me to add a third shoebox into the set to hold these documents. One of the next goals for this collection, besides simply building out... |
ost major museums are closed on that day.
Upon my arrival, I was immediately greeted by the student monitoring the gallery that day. To my advantage and surprise, this individual also happened to be a friend of mine. My interactions with docents are often awkward or uncomfortable, as I do not like interacting with str... |
learning:
Decisions in museums and galleries about how to position material things in the context of others are determined by a number of factors including the existing divisions between objects, the particular curatorial practices of the specific institution, the physical condition of the material object, and the inte... |
t age ranges would be impacted within this specific learning environment. As some of the puppets are not protected behind a covering of some sort, I would not be surprised to see children attempting to touch the objects on display. I feel more attention needs to be spent on the hands-on display, as when children hear t... |
them.
Color Coordination
By Alston Albarado
Characters:
WHITE
MR. WHITE
MRS. WHITE
GREY
ENSEMBLE: RED, ORANGE, YELLOW, GREEN, BLUE, PURPLE
A bare stage. Lights quickly shift from one area to the next as each character enters one by one. Each character strikes a pose and freezes with each line.
WHITE
White.
MR. WH... |
RANGE
Orange.
WHITE
Don’t get lost.
PURPLE
Pur… ple?
YELLOW
Yeeeeell… ow!
Silence. WHITE is left center stage, alone. Lights shifts to a single spotlight.
WHITE
Don’t get… lost.
WHITE looks around in confusion and puzzlement.
WHITE (cont.)
Hello? Can anyone hear me? Can anyone see me?
Silence. WHITE searches within th... |
lowly fade to black. The loudness becomes incomprehensible and continues for a few more moments. Instantly there is silence. Blackout.
End of play.
Name: Alston Albarado
Lesson Title & Length: Oppression: Rewind, Replayed, Redo / 45 minutes x 2 sessions
Date, Time & Location: 11/19 & 11/21, 11:30am in Studio S / 12... |
Series of techniques that allow people to communicate through images and spaces, and not through words alone.
• Forum Theatre: Involves replacing characters within a scene to explore possible solutions, ideas, and strategies to combat situation of oppression presented through improvisation.
• Augusto Boal: Bra... |
vement activities and Forum Theatre. Reflect on how personal decisions impact others.
◦ Caring: Form new opinions and ideas on concepts. Recognize and understand oppression from all viewpoints.
Transfer of Learning: Real World Connections / Relations / Applications of lesson topics to the individual and the wor... |
encouraged. Pre-determined topics will be selective and filtered, to avoid any biases and promote all potential perspectives on situation.
Student Reflection: How will students reflect on their understandings and experience?
• Discussion Questions: Will serve as prompts, promoting ways to unpack and understand the... |
ation. Ball (or other object)
Step 3 (7 min.) Exploration
• Mirroring Exercise
• Clay Sculpture
• Leader & Blind Follower Leader & Follower, Partner Work Take turns experiencing what it is like to have control over a partner versus having to follow a partner’s commands.
Step 4 (20 min.) Boal Games
• Co... |
closing, don’t start dinner without me.
STICKY walks over to the computer monitor and sticks herself to the bottom of it. The new kid on the block, PEN, walks in excited. STICKY watches him from the distance.
PEN
So this is what fresh air feels like…
STICKY
It’s great isn’t it?
PEN
Who said that?
STICKY
Turn ar... |
n
UNIT THEME: Symbolism, Storytelling, and Devising
GRADE/AGE, SUBJECTS, DISCIPLINES, AND LEVEL OF LEARNERS:
The target audience for this lesson plan will be upper elementary school students, ranging from grades 4 – 5. The unit itself will focus on three primary subject areas: art, history, and theatre/dance. It is est... |
ience with theatre and dance. As this field of arts is often considered an extracurricular, I do not see performing arts often implemented within elementary school curriculum. However, some students may have exposure to dance through taking private classes. Additionally, as physical education is embedded into elementar... |
marks, Matisse makes beautiful marks. So I did a number of drawings using brushes, letting my arm flow free, exploring ways of bringing together French painting and music. (Sykes)
The freestyle painting style utilizing in the original set design is integrated into Hockney’s installation, echoing the beauty and delicacy... |
they will start the lesson plan learning through conventional methods, such as studying the historical context of the work, and evolve to non-conventional methods of learning through theatre, dance, and art.
EXPRESSIVE OUTCOMES:
Students will be expected to participate in the activities to the best of their own abilit... |
es should not accurately reflect what the toy looks like but should be representative of what they can visually see. Make sure they interpret the toy from multiple angles in their drawings, if necessary.
▪ Have the students notate the shapes that appear throughout their three drawings, as well as any other ... |
tunity to serve as the negative space explorers.
▪ Discuss the elements of art and movement that interplay within the positive and negative space exploration.
◦ Activity: Wrap-Up
▪ Discuss the elements of art and movement that were explored throughout the sessions. Answer any questions t... |
his element becomes difficult to integrate due to the Hawaii Content Standards reflecting a focus on the history of Hawaii and the United States.
WORKS CITED
Day, Michael, and Al Hurwitz. “Children’s Artistic Development: How Children Grow and Learn.” Children and Their Art: Art Education for Elementary and Middle S... |
oration of queerness becomes a viable possibility and necessity within youth theatre. The integration of queer-related issues also become tangible properties via the queer youth theatre organizations and productions that continually grow in number and cognizance. These examples showcase the real-life applications of qu... |
gay youth, often showing individuals suffering through traumatic experiences or making bad life choices. This adverse portrayal presents audiences with the idea “that being gay puts youth at risk for a plethora of problems by suggesting that lesbian, gay, or queer youth will likely become either victims of self-hatred ... |
children and teenagers (Falconi 159). In most situations, youth do not get to choose what movie or play they can attend, but their parents or teachers make these types of decisions. This lack of control creates a unique paradox within theatre for young audiences that ignores the overall principles behind youth theatre.... |
rities between masculinity among boys and femininity among girls. These classifications range from appropriate behavior patterns, suitable dress attire, and ideal social constructs. This segregated gender structure is physically showcased throughout childhood from the disparate toys, precise classroom arrangements, and... |
ng a strict cataloging system. Eventually, a red egg falls from the sky causing confusion between Cotton and Wrinkle. As this egg defies the binary system they have established, the pair decides to not categorize the egg. By neither placing the egg in the bin or among the previous fallen white eggs, the play introduces... |
rpetuate the notion that the female protagonist must wait for a male character to rescue them from their dilemmas.
As the concepts behind building queer youth theatre develop as an established entity, opportunities to experience this kind of theatre are starting to become more plentiful. Safe environments and outlets f... |
eating her past situation:
When I started acting, I did it to, like, get away from life. But in this play, like I’m acting my life out onstage. And it’s also kind of weird, because people, whether they realize it or not, like, when I do that scene, they’re, like, seeing stuff that sometimes I don’t even tell my friends... |
ercome. Through the efforts of compassionate theatre companies and groups, crafty yet cunning playwrights, and supportive parents and educators, queer youth theatre can flourish and become more widespread around the world. As a necessary creative outlet for both theatregoers and performers, queer youth theatre becomes ... |
t outbursts or breaks, allows a release of pent up physical energy that increases concentration both mentally and scientifically within the body. Short breaks of movement are not only easy to incorporate into most lesson plans and school schedules, but allow children to experience the expected amount of socialization n... |
ay have existed at the time, I will be able to look at the overarching picture and explore the story from the outside before delving into the initial roots.
Some of the most useful tools of my research will consist of a variety of primary sources in which I hope to truly come to the core of answering my research quest... |
7.
Waters, John. Hairspray. New Line Cinema, 2005.
Looks like the screenplay was published in 2005 by Thunder 's Mouth Press, get through Inter-Library loan?
Alston,
Very capably done review, you are organized in your presentation and have identified the major relevant areas you will need to look at for your topic.... |
de.
STAPLER
I don’t hide… I’m just waiting…
STICKY
Waiting for what exactly?
STAPLER
The perfect guy to roll right into my life.
STICKY
(singing)
Waiting for a guy to roll… better call up Rubber Band Ball… oh?
They both laugh hysterically.
STAPLER
That was a good one, hon.
STICKY
I try… but I’m not good as you, ... |
and dance sequence. This opening is one of the strongest moments of the entire production, as it not only immediately sets up the location, but it reinforces the mood for the rest of the play. At rise, caricatures of everyday people in Paris flood the stage going through their hilarious daily motions. This section util... |
nches. We swung from one vine to the next. Wiggles was even so courage-erous, he jumped right off of the highest part of the tree. I wanted to follow him, but I was way too scared. Instead I just slid down the trunk and tried to land on my two feet. But then, Wiggles decided to play hide and seek! He just loves that ga... |
theatrical aspects of the performance style. For more overall knowledge, deconstructing the script and noticing key moments that hint towards the usage of drag will aid in solidifying the casting choice. These discussions will serve as vital groundwork to understanding the core elements of drag within production by pi... |
ant influence
3. Question reader to construct own opinion on issue
B. Call to question usages of drag in other forms of media
Proposed Partial Bibliography
Baker, Roger, et al. Drag: A History of Female Impersonation in the Performing Arts. New York University Press, 1994.
Creekmur, Corey K., and Alexander Dot... |
ted into the designs. Even trash cans utilize a design targeted towards children, constructed as receptacles that look like life-size baby dolphins. However, the most obvious visible indicator is the Adventure Kids Play Zone, a quite expansive jungle gym and playground area centrally located within the park. I was not ... |
gh the playful connection the duo have between each other. There is no doubt that the simple theatricality of the tricks and excitement the feats the dolphins perform is entertaining. However, the lack of theatre training of the dolphin trainers dampens the show. This issue is most prominent when the narrator of the sh... |
vious article for this class, Creative Dance: a Collage of Learning by Mary Ann Brehm and Lynne McNett outlines a variety of positive consequences creative dance imparts upon the participant. Advancing numerous vital skills to human development, creative dance imprints qualities upon the individual that no other art fo... |
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