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| Process |
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| Writing |
| Prewriting- collecting information - Reading Antigone and participating in class discussions -Annotating text -Initial descriptive writing of one character and preliminary sketches in sketchbooks -Observation and experience through mask making Drafting- Turning notes into first draft of paper -Rough descriptions in sketchbooks -Early mask making- sketching balloon, paper mache, gesso -Continuing to read, changing impressions through new characters and changes in conflict Revising- Reviewing first draft, checking for sense -Description worksheet, writing descriptive paragraphs -Final sketches -Underpainting -Reading and annotating, taking into consideration new impressions Editing- Proofreading for mechanical and grammatical errors -Reworking paper -Glazing and painting masks -Improved discussion resulting from time spent with text, the information gathered from experiences, and practice speaking about literature Publishing- Final draft presentation -Turning in a final draft -Completing masks -Using masks and individual experience with the play to perform scenes for the class |
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| Antigone |
| -Introduction to Ancient Greece- examination of structure through architecture, mythology, government, and gender relations -Introduction to Drama- dramatic structure and techniques such as character, plot, dialogue, and staging -Greek theater- scene/ode structure throughout Greek drama, Chorus, catharsis, tragic hero, unities, masks, tragedy, and relation between Greek theatergoers and their emotional education -Prologue and First Scene for discussion of character and description -Choral Odes for poetry, description, adjective/adverb discussion, figurative language -Scene 2 for changes in character -Scene 3 for debate and persuasion -Scenes 4, 5, and the Exodos for plot, process, and comprehension |
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| Masks |
| -The only structural requirements were based on the idea that Greek masks contained painted eyes with pupil holes and large mouths. -Two students partner up to share a balloon, drawing structural features and using cardboard and paper to make features show beneath paper mache. Masks represent a character or emotion they described and sketched initially. -At least six layers of paper mache using newspaper strips dipped in diluted liquid starch -Wrap two layers of cotton padding used under orthopedic casts.Padding is dipped in starch halfway and strips are folded to drench without soaking too much. -When dry, use gesso mixture to unify padding and to create a blank slate. Gesso, a Renaissance technique for preparing organic surfaces was used to integrate with Art instructor who wanted to prepare the students for future painting instruction. The mixture serves to create a sturdy, smooth surface for painting. -After drying, pop balloon, cut masks in half, and individuals sketch on paper and on mask to move from character description to mask in front of them. -Art instruction surpasses English as students move to underpainting, another Renaissance painting technique that allows one to create mood and shadow beneath color layers. This process requires students to think about nuance in the same way they must consider character subtleties when writing descriptively. Materials were acrylic white, black, and medium. -Students use acrylic paint and matte medium to glaze over the underpainting. The Art instructor's prime direction required that students use primary colors to create their own colors and that they were to glaze, not simply paint the masks. Glazing utilizes the medium in conjunction with paint that the painter routinely applies and removes to create layers. These layers add sheen to the mask, effecting a complex, artistic quality. -Paint glossy protective varnish layer, drill pupil holes, apply decorative touches such as hair. -Masks become artifact reflecting process, consideration, and ornamentation rather than simply a craft project. |